Models from the Repertoire

Models from the Repertoire An Addendum to the Theory Syllabus, 2009 Edition

RCM Examinations and the National Music Certiﬁ cate Program

ISBN 978-1-55440-255-7 15 14 13 12 11 10 09 1 2 3 4 5 6 7 8 9 10 Contents

Preface 3

Models from the Repertoire Gavotte by James Hook 4 Minuetto by James Hook 5 Schwäbisch by Johann Christoph Friedrich Bach 6 Passepied by George Frideric Handel 7 Menuet by Kathleen Wood 8 Bourrée by Johann Falle 9 3 Preface

The following are Models from the Repertoire for the Basic Harmony Examination referenced in The Royal Conservatory of Music Theory Syllabus, 2009 edition.

These melodies are intended as models for the melody writing question (Melody with Added Bass Line at the Cadences) on the Basic Harmony examination. Candidates will be asked to:

Extend a given melodic opening to create a sixteen-measure composition with four four-measure phrases. – The style will be that of an 18th-century dance. (Candidates may be asked to identify the dance type.) – The composition is to be in rounded binary form with repeat signs appropriate to this form. – The melody will remain in the principal key; modulation is not required. – The four phrase endings of the melody are to be accompanied by a bass part and functional chord symbols; candidates will be required to name the type of each cadence. Two-part (melody and bass) cadences are required; stem directions are to be consistent with two-part writing. – The fi rst eight measures or fewer will be given, with both the melody and the bass part at the cadences. Candidates will complete the melody and add the bass part at the cadences and will mark the phrasing for the entire composition. – The third phrase should demonstrate some melodic contrast and inventiveness, while remaining consistent with the style of the given opening. Literal restatement, transposition, etc., are discouraged in the third phrase. – Candidates may also be asked to indicate the implied harmony throughout the composition using either functional chord symbols or root/quality chord symbols.

There are numerous examples of sixteen-measure rounded binary dances in the repertoire; however, the vast majority of these contain a modulation to a traditional goal key, and sometimes other modulations to closely related keys. Because candidates are not expected to modulate in their compositions at the Basic Harmony level, some examples of rounded binary compositions which remain in the principal key are provided here.

The fi rst four dances are authentic dances from the repertoire and the last two are representative dances. In each case, the dance has been adapted to the examination format and the bass line has been removed except at the cadences. 4 Gavotte by James Hook is a good example of typical melodic writing, phrase structure, and cadences. Note that the rhythm is atypical of the gavotte dance type in that it does not begin with the usual half-measure upbeat.

Models from the Repertoire 5 Minuetto, op. 37, lesson 2 by James Hook has a typical phrase and cadence structure.

Models from the Repertoire 6 Schwäbisch by Johann Christoph Friedrich Bach is not one of the dance types which candidates are required to recognize. However, this dance demonstrates a typical phrase and cadence structure. In the original, there is a chromatic note in the third cadence, but it is an applied chord and not a modulation to the dominant; the composition remains in the principal key. Candidates may substitute a G natural for the G sharp in m. 11, thus implying subdominant harmony.

Models from the Repertoire 7 Passepied by George Frideric Handel is not one of the dance types which candidates are required to recognize. It is still a possible examination question, but candidates would not be asked to name the dance type. In its original form, this passepied does not clearly fall into four- measure phrases, but rather into two eight-measure phrases. In has been adapted here for the examination format, with a simplified bass line to make a clearer division of the phrases.

Models from the Repertoire 8 Menuet by Kathleen Wood is representative of other menuets from the 18th century and is a good example of typical melodic writing, phrase structure, and cadences.

Models from the Repertoire 9 Bourrée by Johann Falle is representative of the melodic and cadence structure of an 18th-century dance.

Models from the Repertoire Take Two Steps To Total Theory Success

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