Dear students,

This is the concluding homework assignment of the first semester. Most of the topics we discussed in the lessons will return. It is primarily a recapitulation of topics and key terms. Use the website, the book and your notes (!).

DEADLINE: February 19th (2017) to be handed in at This email address is being protected from spambots. You need JavaScript enabled to view it..

It is allowed to make this assignment in duos. Please give your names when you hand in your work.

Please don't act stupid/childlike by taking a free ride with someone else. You'll regret it. When we conclude the second semester you are on your own and you will get a similar assignment in a paper & pencil test. Then there will be no mercy... ;-)

Please make the necessary annotations in the scores. You are free to do it with a PDF-editor (like Adobe Reader or the Preview app on Mac) or with paper & pencil (READABLE PLEASE ...). Everything is to be handed in digitally in PDF-format at This email address is being protected from spambots. You need JavaScript enabled to view it.. With every copier you can scan to a PDF-file and send that file to yourself (and me). Add a document in which you explain and comment on, your annotations.

All the recordings you need are in this  PLAYLIST.

1. Analysis (form, structure, texture) (Vivaldi)

Score

1. Make clear that this is a ritornello form by indicating where ritornelli and episodes begin and end.
2. Encircle all cadential formulas and give of each the key, chord symbols and degrees (including inversions and ornamental aspects such as non harmonic notes)
3. Mark all sequences as a whole with square brackets [ ] and the segments with { }.
4. Indicate where a modulation has been accomplished and what the relation is with the previous key (what has been changed, what is common between the two (for example pivot chords).

2. Analysis sonata form (Beethoven)

Score

Take as a point of departure the scheme of sonata form as presented in AHWM.

1. Mark all points of segmentation connected to the form sections (exposition, development, recapitulation) and the points of segmentation within those form sections (transitions, episodes within the development section)
2. How are pedal points used?
3. Encircle all cadential formulas and give of each the key, chord symbols and degrees (including inversions and ornamental aspects such as non harmonic notes)
4. Mark the sequences as a whole and their segments with square brackets [ ] . 
5. Indicate where a modulation has been accomplished and what the relation is with the previous key (what has been changed, what is common between the two (for example pivot chords).
6. What happens in the development section with
   thematic material
   texture elements (working with motives, role playing between parts such as imitation)?harmony (chromaticism, suggesting other keys or modulating temporarily to other keys)?
7. There is a hidden chain of dominants: where and what chords are used? (give the chord symbols).

3. Analysis fugue (Bach)

Score

1. Mark all theme entries and decide for each entry to which key it can be related.
2. Is the he first answer real or tonal?
3. Mark all episodes
4. What happens in the episodes?
5. Encircle all cadential formulas and give of each the key, chord symbols and degrees (including inversions and ornamental aspects such as non harmonic notes)
6. Mark the chains of dominants and show with chord symbols which chords are used.

4. Auditory analysis 

You can make a choice out of two compositions

Edvard Grieg - Sigurd Jorsalfar deel 3. Recording (mp3)

Tchaikovsky - Suite no. 1 deel 6. Recording (mp3)

1. Indicate the points of segmentation
2. Indicate how strong they are: big (V), medium (v), small  ( | ).
3. Describe how the composer use repetition, variation, contrast and what musical means are used (pitch, rythm, dynamics etc.)
4. Make a letter scheme of the form comparable to the one we made for Neville's Waltz.
5. Which textural characteristics do you hear and where (sequence, cadence, imitation, pedal point, ornamentation, etc. )?
6. Which keys are used?

NB I would advise to use Audacity and make label tracks for:

• points of segmentation
• a letter scheme
• texture characteristics
• keys
• extra label tracks for additional things you want to mention

If you choose for a paper & pencel approach: add the time markings in your overview.

 5. Finding ornamental / non harmonic notes within a harmonic setting (Bach chorales)

1. WO 33 (pdf) Encircle suspensions/appoggiaturas and passing tones (label them with susp/app and pt).
   recording
2. WO 53 (pdf) Encircle passing tones and neighbor tones (and label them with pt and nt).
   recording