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Music Theory Exam Word Doc Aug 24, 2014 Analysis This two-page segment is a movement from a larger composition. Key = G Major, tempo = 3/8, length = 71 bars or measures. The Form may be: Theme 1, Transition, Theme 2, Theme 1, Theme 3 (or altered theme 2), Coda OR A , transition, B, A, C, Coda Identified on score. The score is in G+ for 18 bars, there is a transition from bars 9-18, and modulation to the Dominant, D+ from bar 19 - 71, A repeat sign at bar 71 indicates that the entire movement is to be repeated. Leading Note s (Leading tones) are identified as LN in perfect cadences. Theme 1; bars 1-8; The tonic, G+, is firmly established, followed by V b (1st inversion) V7 to I (tonic) ending with a perfect cadence. Transition; bars 9-18 form a transition to V of G+, = D+. All notation will be written in the key of D+, D being the tonic, I. The transition oscillates between I and V in G+, ending in V. I - V is a imperfect cadence, but the ending on V establishes establishes the key of D+ for the remainder of the piece. Bars 11-16 are sequences of chromatic scalar notes with some non-chord notes. (Sequences are 11-12, 13-14, 15-16 altered) Theme 2; Bars 19-26 are sequences in 2-bar fragments, I-V, I-V7 with all instruments (voices) contributing. Bars 27-34 essentially repeat 19-26 with violin I only on alternate bars. The effect is to move the music along, ending in I-V-I perfect cadence in bar 35. Bar 35 is the final bar for the perfect cadence, but it is also the first bar of the next phrase in which Theme 1 returns. Bars 35-42 are similar to theme 1; 1-8, now in D+. Bars 43-62: Theme 3 has many of the characteristics of Theme 2; scalar fragments with chromatic non-chord notes and sequences. Bars 43-48 are repeated as Bars 49-54 with sequences. Bars 53-55 end with a perfect cadence, V-V7-I. AT bar 55 the rhythm changes; It now appears that the last 8th note of each bar is a pickup beat (anacrusis) for the next bar. Bars 56-59 are repeated, altered, in 63-63. From bars 62-68 all four instruments (voices) play the same notes among 3 octaves.The closing bars are V, iii, IV V7, suspended V7 in bar 70, and I in bar 71. The Coda is from bars 63-71. !.

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Harmony Crib Sheets
Jazz Harmony Primer General stuff There are two main types of harmony found in modern Western music: 1) Modal 2) Functional Modal harmony generally involves a static drone, riff or chord over which you have melodies with notes chosen from various scales. It’s common in rock, modern jazz and electronic dance music. It predates functional harmony, too. In some types of modal music – for example in jazz - you get different modes/chord scale sounds over the course of a piece. Chords and melodies can be drawn from these scales. This kind of harmony is suited to the guitar due to its open strings and retuning possibilities. We see the guitar take over as a songwriting instrument at about the same time as the modes become popular in pop music. Loop based music also encourages this kind of harmony. It has become very common in all areas of music since the late 20th century under the influence of rock and folk music, composers like Steve Reich, modal jazz pioneered by Miles Davis and John Coltrane, and influences from India, the Middle East and pre-classical Western music. Functional harmony is a development of the kind of harmony used by Bach and Mozart. Jazz up to around 1960 was primarily based on this kind of harmony, and jazz improvisation was concerned with the improvising over songs written by the classically trained songwriters and film composers of the era. These composers all played the piano, so in a sense functional harmony is piano harmony. It’s not really guitar shaped. When I talk about functional harmony I’ll mostly be talking about ways we can improvise and compose on pre-existing jazz standards rather than making up new progressions.
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