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110A (Feurzeig) Exam 1 (PRACTICE)

A. Identify these chords with roman numeral and inversion and resolve each to an appropriate chord. Circle each secondary leading tone and chord seventh (if present). # bb bb ## w bb b ## # & b w b #w #w b nw # nw w w w ? w # nw # # w bbb nw bbb nw # w bbbb n w # ## #w { Eb: Cm: D: Fm: B: #### w #### w #### w b b nw & w ww nw b b b n w ?# # #w # # #w # # #w b w # # # # # # b bbb E: E: E: Bbm: B.{ Realize these lead-sheet chord symbols. Db ! 7 Adim7 F#m7b5 Dbm7/Gb B7 ? & B

C. Provide key signature and realize the given RN’s with good SATB voice leading.

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6 7 7 o6 7 ø7 { Bb: V 5 / V V A: V / V V Dm: vii 5 / V V Ab: vii / V V D. Realize the in keyboard voicing and provide RN analysis. # œ & #c œ œ œ ?##c œ #œ œ œ 6 6 5 ˙ 5 4 # { # (over) Questions on analysis and repertoire identification: Phrase/period analysis. There will be one excerpt, chosen from assignments or the excerpt son the back of this page. You will delineate the phrasing with a bubble-style timeline diagram and answer specific questions about the type of phrase or period. There may also be questions about the motivic structure or harmony. Sequence analysis. There will be one sequence example, chosen from assignments or the excerpts on the back of this page. You will describe the pattern length, interval of transposition, linear intervallic pattern (LIP), and type of root motion. There may be additional questions about specific RN functions and embellishing (non-harmonic) tones. Be prepared to identify all pieces by ear and by score. Identification = composer (properly spelled) + title J.S. Bach, Invention in D minor J.S. Bach, Prelude from Cello Suite No 2 in D minor J.S. Bach, “Wachet auf” (chorale setting, chorale no. 179) Beethoven, Sonata in C Minor, op. 13, third movement Clementi, Sonatina in C Major, op. 36, no. 1, first movement Corelli, Allemanda from Trio Sonata in A Minor, op. 4 no. 5 Handel, Chaconne in G Major Hensel, “Neue Liebe, Neues Leben” Kern, “All the Things You Are” Mozart, “Voi, che sapete” from The Marriage of Figaro , Sonata in G Major, L. 388 Vivaldi, Gloria, first movement Meredith Willson, “’Till There Was You” from The Music Man Terms: be prepared to define and to use them appropriately in analysis: phrase motive inversion (motivic) augmentation and diminution (motivic) sentence period —parallel —contrasting —symmetrical antecedent/consequent phrases level of transposition parallel 6/3 chords sequence —diatonic vs. chromatic —harmonic —melodic —root motion type (descending fifth, descending third, ascending fifth, etc.) —sequence pattern (melodic and harmonic) —linear intervallic pattern (LIP) 6 types of 4 chord: cadential, neighboring, arpeggiation, passing review all embellishing tones: PT, accented PT, N, Inc. N, Sus, Ret, Ant. For the following two examples:

a) Provide (remember to indicate key) For the following two examples: b) circle and label by type all embellishing tones as a) ProvidePT (specify roman APT numeral and chromatic analysis PT (remember as appropriate), to indicate NT, keyIN, )Sus, Ret, Ant, or Ped œ b c) label alln œ 6 œchordsœœ œby theirœ contrapuntalbœœœ (linear)œ functionœ œ œœœ œ œ &b b)c circle‰ J andœ 4 labelœ by typeœ œall embellishingœœ œœ tonesœœœ asœ œœœœœœœ œœ œ œœ œ œ œœ PT (i.e. (specifyre passing,- joice! APT nieghbor/pedal, and chromatic cadential, PT as appropriate), arpegiating/change NT,œ IN, ofSus, bass) Ret, œAnt,œ or œPed 6 c)d) label identify all 4 and chords classify by their all contrapuntal (linear) function b (i.e.œ passing,˙ nieghbor/pedal, cadential, arpegiating/change of bass) œ œ œ &b c œ œ œ œ˙ ˙ ˙ ˙ œ œ œ nœ œ bœ œ œ œ œ œ œ 1.d) Stephen identify˙ Foster, and classify “Gentle all Annie” cadences ? bc œ œ ˙ œ œ ˙ œ œ b œ œ 1. Stephen Foster, “Gentle Annie” j œ™ œ œ œHandel, Messiahœ : see Anthology, pp. 187‐196 { &bc œ œ œ œ œ œ œ œ œ™ J œ œ œ™ œ ˙ Œ œ œ j œ™ œ bc œ œ œ œ œ™ œ œ Œ œ & b Œ œ œŒ œ œŒ œ œ Œ Œ Œ J œ œ œ™ ˙Œ Œ œ & c œ œ œ œ œ œ œ œ œ œ œœ œ œ œ nœ œ œ œ &?bcc ŒŒ Œœ œŒ Œ Œ Œœ œŒ Œœ œŒ Œœ œŒ œœ œŒ Œ Œ b œ œ œœ œ œ œ nœ œ ˙™ œ œ œ œ œ œ œ œœ œ ˙™ œ œ ? c Œ œ Œ Œ œ Œ œ Œ œ Œ œ Œ Œ b œ œ œ œ œ ˙™ { œ œ ˙ ™ { j œ œ b ™ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ™ œ ˙™ b j œ™ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ™ œ ˙™ &b œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &?b ˙œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ Œœ b œ œ œ˙ œ œ œ œ˙ œ œ˙ œ œ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ ? ˙ ˙ ˙ ˙ œ b ˙ ˙ ˙ ˙Stephen Foster, “Gentle Annie” { ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ b œ™ œ œ j œ œ œ œ œ œ bœ œ™ œ œ œ œ bœ nœ &b c J œ œ œ ‰ œ œ { (over) œ œ œ œ œ œ œ œ œ œ œ ˙ œ ?bbc Œ œ ˙ œ Œ (over) 5 b œ™ bœ œ œ œ j œ &b œ œ œ œ ‰ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ ? b œ œ ˙ œ b Œ Mozart, Sonata in B‐flat Major, KV. 333, 3rd mvt.