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Achievement In Music
STUDENT
WORKBOOK ! Answer Key Levels 10 - 11 - 12
by
Karen Rogers ! ! Revised!2015! ! ILLINOIS!STATE!MUSIC!TEACHERS!ASSOCIATION!
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Level%10%Answer%Key:%%%% LESSON ONE ! p.%1! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Dominant%Seventh%Chord%Inversions!
! ! !!!!!!V7% % V6/5% %%% %%%%%%%%%V6/5% % V4/3% % V4/2%(V2)% % % Rhythm%
! % %p.%2%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Lydian%Mode!
% • See#example#above# • 4! • The!circled!note!is!one!half!step!higher![than!the!4th!note!of!a!major!scale].! % Mixolydian%Mode%
% • See#example#above# • 7! • The!circled!note!is!one!half!step!lower![than!the!7th!note!of!a!major!scale}.! ! ! p.%3%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%AURAL%SKILLS%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% % Scale/Mode%Identification%
% % %%%%%%%%%%%%%%%Ionian! ! X%!Mixolydian% Lydian! % Dictation:%
! 1! LESSON TWO p.%4!!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Matching% d compound meter i plagal cadence a trill f syncopation g half cadence h mordent b simple meter j authentic cadence c turn k appoggiatura e deceptive cadence p.%6!!!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Triad%Inversions%
% !!!!!!!b!minor:!iv6/4! !!!!!d!minor:!!viio!!!!!!!!!!!!!!!e!minor:!!V6!!!!!!!!!!!!!!!!Bb!major:!!ii6! % p.%7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Lydian%mode%
% Mixolydian%mode%
% % AURAL%SKILLS%
%%%%%%%%%%%a.%%P5%%%%%%%%%%%%%%%%%%%%b.%%M7%%%%%%%%%%%%%%%%%%%c.%%TT%%%%%%%%%%%%%%%%%%%d.%%m6%%%%%%%%%%%%%%%%%%%e.%M3% %
a. R b. 1st c. 2nd d. 2nd %
! 2! LESSON THREE p.%9%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Score%Analysis% 1. a. First section exposition measure numbers 1 - 15 b. Second section development measure numbers 16 - 23 c. Third section recapitulation measure numbers 24 - 38 2. In the first section: a. The first theme begins in the key of C major. b. The second theme begins in measure 8 and is in the key of G major. c. Is this a modulation? yes 3. In the third section: a. The first theme begins in measure 24 and is in the key of C major. b. The second theme begins in measure 31 and is in the key of C major. 4. Measures 16-17 are related to the: a. first theme b. second theme. 5. Which term best describes the bass in measures 9 and 11? a. figured bass b. Alberti bass c. ostinato 6. The cadence in measures 3-4 is: a. plagal b. half c. authentic d. deceptive 7. Compare measures 8 – 9 with 10 - 11? This compositional device is called: a. repetition b. sequence c. imitation % p.%11%%%%%%%%%%%%%%%%%%%Writing%Dominant%Seventh%Chords%and%Inversions%
% Lydian%Mode%
% Mixolydian%mode%
% AURAL%SKILLS%
Ionian! Mixolydian! Lydian!
%
! 3! LESSON FOUR p.%14%%%%Composers%and%Characteristics% I Debussy
R Homophonic texture is a characteristic of this musical period.
R Grieg
T In this musical period, we find the use of changing meters and asymmetrical rhythms.
I Ravel
R Mendelssohn
T Melodies may be angular and disjunct, less singable, in this musical period.
R Granados
I Pedal used for special effects.
T Gershwin
R Character pieces with descriptive titles.
I Gliding chords in parallel motion, or planing, is a characteristic of this musical period. % AURAL%SKILLS% Interval%Identification%
% %%%%%%%%%%%a.%m3!!!!!!!!!!!!!!!!!!!b.%P8%%%%%%%%%%%%%%%%%%%%%c.%m7%%%%%%%%%%%%%%%%%%%%d.%P4%%%%%%%%%%%%%%%%%%%%%e.%M6% Chord%Position%Identification%
% %%%%%%%%%%%a.%%1st%%%%%%%%%%%%%%%%%%%%%%%%%%%b.%%2nd%%%%%%%%%%%%%%%%%%%%%%%%%%c.%%1st%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%d.%%1st%% % Chord%Progression%Identification%
%
! 4! LESSON FIVE p.15% Matching% h mordent e pentatonic a trill f syncopation g au mouvement d compound meter b simple meter i cédez! ! ! ! c turn k appoggiatura j%%%!bitonality Fill%in%the%Blanks:%%%%% % %Exposition% % Development% Recapitulation% p.16%%%%% % % % Mixolydian%mode%
% Lydian%mode%
%
Writing%Dominant%Seventh%Chord%Inversions%
% %%%%%%%%%%%D!major:!!V4/3!!!!!!!!!!!F!major:!V4/2!!!!!!!!e!minor:!V7!!!!!!!!!!!!!!!Bb!major:!V6/5! % p.%17%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%AURAL%SKILLS% Scale/Mode%Identification%
% Ionian%% Mixolydian% % Lydian% Dictation%
! 5! LESSON SIX p.%19%%Writing%Inverted%Triads%
% !!!!!!!!!!!!!!!!!!B!major:!!V6!!!!!!!!!!!!!!!g!minor:!V!!!!!!!!!!!!!Ab!major:!!vi6/4!!!!!!!!f#!minor:!!iv6! Score Analysis 1. German Dance is written in the key of G major! 2. During which musical period was German Dance written? Classical.! 3. Identify the harmony in measures 1 and 2. A. I (tonic)! 4. Identify the harmony in measures 3 and 4. E. V7 (dominant 7th)% 5. The cadence in measures 7 – 8 is: c. authentic ! 6.!!The form of the piece is: c. rounded binary! 7.!!Identify the interval between the first two treble clef notes in measure 11. minor 7th% % p.%21%%%%%%Fully%Diminished%Seventh%Chords%
% % Ornaments%%
% ! %%%d%%%% % %%%%%%c__%%%%%%%%%%%%%%%%%%%%%%%%a%%%% % %%%b__%%%%% ! ! AURAL%SKILLS%
% %%%%%%%%%%%%%a.%%P4%%%%%%%%%%%%%%%%%%%b.%TT%%%%%%%%%%%%%%%%%%%%c.%M6%%%%%%%%%%%%%%%%%%%d.%M2%%%%%%%%%%%%%%%%%%%%e.%m6%
% %%%%%%%%%%%%%a.%%R% %%%%%%%%%%%%%%%%%%%%%%%%b.%1st%% %%%%%%%%%%%%%%%%%%%%c.%1st%% %%%%%%%%%%%%%%%%%%d.%2nd%%
%
! 6! LESSON SEVEN p.%22%%%%%Matching% j retenu e pentatonic h largo f syncopation g au mouvement c lento b simple meter i cédez l maestoso a Sonata-allegro form d compound meter k sostenuto % Dominant%Seventh%Chord%Inversions%
% %%%%%%%%%%%%%%%V7%%%%%%%%%%%%%%%V6/5%%%%%%%%%%%%V4/3%%%%%%%%%%%%%%V4/2% p.%23%%%%%Composers%and%Characteristics% R Grieg I pedal used for coloristic effect I Ravel T piano often used percussively !! !! ! !! ! R MacDowell R prominence of piano literature and great pianists T Joplin T use of modes and 12-tone row % Musical%Excerpts%%%% 1.%%T%%%% % 2.%I%%%%% % 3.%R% % p.%24%%Intervals%
% %%%%%%%%%%%%diminished%7th%%%%%%%%%%%augmented%5th%%%%%%%%diminished%7th%%%%%%%augmented%5th%% % AURAL%SKILLS%
% ! Ionian!! Mixolydian! ! Lydian% %
%
! 7! LESSON EIGHT Pop Chord Symbols p.%25% % %%%%%%%%A/E% %%%%%%%%%%%%%%%%%%%%D7%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Eb+% %%%%%%%%%%%%%%%%%%%%%%%Fdim%
!
Modes
!
! % p.%26% Fill in the Blanks recapitulation! Third! and! final! section! of! sonataPallegro! form:! ! first! and! second! themes!usually!in!the!tonic!key,!optional!closing!theme.! exposition!!First!section!of!sonataPallegro!form:!!first!theme!in!the!tonic!key,!second! theme!in!the!dominant!or!related!key.!optional!closing!theme.! development!!Second!section!of!sonataPallegro!form:!!themes!or!motives!may!be! changed!and!elaborated,!new!themes!may!be!added.! bitonal Music with two tonal centers. atonal Music with no tonal center.
Diminished Seventh Chords
Dominant Seventh Chord Inversions
f# minor: V4/2 Eb major: V4/3 b minor V6/5 g minor: V7
! 8! Rhythm
p.%27% Chord Reduction and Analysis
I V6 vi6 V_
Intervals
Aug. 4th Perfect 5th dim. 7th Major 3rd Aug. 5th
AURAL SKILLS
a m7 b M3 c tt d P5 e m6
a 1st b R c 2nd d 1st
! 9! LESSON NINE p. 28 Intervals
! p. 29 Musical Excerpts 1.!!T! ! 2.!!R! ! 3.!!T! ! 4.!!I! p. 30 Composers and Characteristics T Gershwin R more fluctuation in tempo including rubato R Grieg I pedal used for special effects R Granados T modes, 12-tone rows, bitonality I Ravel T piano sometimes used percussively R Mendelssohn T influence of jazz, ragtime and blues R MacDowell R prominence of piano literature and great pianists T Joplin R character pieces with descriptive titles I Debussy I gliding chords in parallel motion (planning)
Ornaments.
! %%%%%%%%%%%%%_b! ! !!!!!!!d! ! !!!!!!!!!!!c!! !!!!!!!!!a! ! ! AURAL SKILLS Scale/Mode Identification
Ionian Mixolydian Lydian
Dictation
! 10! LESSON TEN Score Analysis
p. 31
1. This piece is in sonata-allegro form. Name the three main sections in this piece and write measure numbers for each section.
a. First section exposition measure numbers 1 – 16 b. Second section development measure numbers 17-28 c. Third section recapitulation measure numbers 29-45
2. In the first section: a. The first theme begins in the key of G major b. The second theme begins in measure 8 and is in the key of D major c. Is this a modulation? Yes
3. In the third section:
a. The first theme begins in measure 29 and is in the key of G major b. The second theme begins in measure 36 and is in the key of G major.
4. Measures 17 – 22 are related to the: a. first theme b. second theme.
5. Measures 17 – 20 appear to be in which key? g minor
6. How is this key related to the main key? It is the parallel minor.
7. Locate and circle examples of upper and lower neighboring tones. Label them “UN” and “LN” see score – there are numerous examples
8. Which term best describes the accompaniment style in most of the piece?
Alberti bass
9. The cadence in measures 3 – 4 is: a. plagal b. half c. authentic d. deceptive
10. Compare measures 17 – 18 with 19 – 20? This compositional device is
called: a sequence
! 11! p. 34 Rhythm
Chords from Pop Chord Symbols Bb 7 D/F# Gm Adim
Diminished Seventh Chords
AURAL SKILLS
a m2 b P4 c tt d P8 e m3
a 1st b R c 1st d R
! 12! LESSON ELEVEN p. 35 Dominant Seventh Chords and Triads
! Modes
Intervals
Fill in the Blanks: 1.Exposition 2.Development 3.Recapitulation p. 36 Musical Excerpts: 1. I 2. T 3. R 4. T p. 37 Composers and Characteristics T Joplin R more fluctuation in tempo including rubato R Grieg I pedal used for special effects R Granados T bitonality I Ravel T piano sometimes used percussively R Mendelssohn T influence of jazz, ragtime and blues!! ! !! R MacDowell R prominence of piano literature and great pianists T Gershwin T use of modes and 12-tone row I Debussy R pedal used for legato and sustained harmony! AURAL SKILLS Mixolydian
Dictation
! 13! LESSON TWELVE p. 38 Rhythm
Ornaments ! !
! !!!!!!!!!!!c!! !!!!!!!!d! !!!!!!!!!!!!!!!!!!!!b! !!!!!!!!!!!!!!!!!a! Matching d retenu e pentatonic h largo b appoggiatura g turn c lento j trill i cédez l maestoso a syncopation f mordent k sostenuto % p. 40 AURAL SKILLS
%%%%%%%%%%%%%%%%%a!!M6%%%%%%%%%%%%%%%%%%%%b%%M3%%%%%%%%%%%%%%%%%%c%%%tt%%%%%%%%%%%%%%%%%%%%%d!!M7%%%%%%%%%%%%%%%%%%%%%%e!!P5%
a 2nd b 1st c 2nd d 1st
! 14! PRACTICE TEST ANSWER KEY
P.%43%
Ionion Lydian Mixolydian
a) P4 b) m6 c) P5 d) m3 e) tt
a) 2nd b) 2nd c) R d) 1st
I vi ii6 V7 I I vi I6/4 V7 I I ii6 I6/4 V7 I
% p.%44% Modes:%% %%%%%%%%%%%%%%%%%%%%%%%%%%%%Lydian'Mode%
% Ornaments:%%!
! !!!!!!!!!!!!!!!!!!__a.__! ! !!!!!__d.__! !!!!!!!!__b.__! !!!!!!__c.__! Intervals:%!
! !!!!!!!!!!!augmented!5th!!! !!!!!!!!!!major!6th!!!!!!!!!diminished!7th! !!!!minor!7th!!!!!!!!!!!!
! 15! Chords:%!
% % Diminished%7th%chord:%%!
% p.%45%% Pop%Chord%Symbols:!! %%%%Ab/C% % %%%%%%%%%F7% % %%%Dm/A% % %%%Ab7/Gb%
! % Rhythm:%!
! Composers%and%Characteristics:%%! ___I__!Gliding!chords!in!parallel!motion,!or!planning…! ___I__!Debussy! ___R__!Homophonic!texture!is!a!characteristic!of!this!musical!period.! ___T__!In!this!musical!period,!we!find!the!use!of!changing!meters!…! ___I__!Ravel! ___R__!Mendelssohn! ___T__!Melodies!may!be!angular!and!disjunct,!less!singable,!in!this!musical!period! ___R__!Granados! ___T__!Gershwin! ___R__!In!this!musical!period,!there!were!many!short!works!for!piano,!…! % Matching:%! _c._!!syncopation! ! a.!!a!fivePtone!scale!within!an!octave.! _f._!!simple!meter! ! b.!!very!slow.! _h._!!lento! ! ! c.!!the!shifting!of!an!accent!from!strong!to!weak!beats.! _e._!!cédez! ! ! d.!!refers!to!music!having!two!simultaneous!tonal!…! _b._!!largo! ! ! e.!!slow!down,!stretch!the!tempo.! _d._!!bitonality! ! f.!!a!meter!in!which!the!pulse!can!be!divided!by!two.! _a._!!pentatonic! ! g.!!sustained,!smooth!and!flowing,!sometimes!slower.! _g._!!sostenuto! ! h.!!slow.!
! 16! % % Musical%Excerpts:%%! 1. __I___! ! 2. __T___! !!! 3. __R___! ! 4. __T___! !! %
Score%Analysis:!!!
1. This!piece!is!in!sonataPallegro!form.!!Name!the!three!main!sections!in!this! piece!and!write!measure!numbers!for!each!section.! a. First!section!___exposition_!! measure!numbers!___1%_%28____! b. Second!section!___development_! measure!numbers!___29%_%43___! c. Third!section!__recapitulation___! measure!numbers!___44%_%69___! ! 7. In!the!first!section:! a. The!first!theme!begins!in!the!key!of!___G%Major___.! b. The!second!theme!begins!in!measure!11!and!is!in!the!key!of!___D% Major____.! c. Is!this!a!modulation?!___yes_____! ! 8. In!the!third!section:! a. The!first!theme!begins!in!measure!_44!!and!is!in!the!key!of!__G% Major___.! b. The!second!theme!begins!in!measure!_54_!and!is!in!the!key!of!_G% Major__.! ! 9. Measures!29!–!36!are!related!to!the!!a.%first%theme% b.!second!theme.! ! 10. Which!term!best!describes!the!bass!in!measures!2!through!9?! a.!figured!bass!!!!!b.!Alberti!bass%%%%%c.%ostinato% ! 11. The!cadence!in!measures!63P64!is:%%a.!plagal!!!!!b.!half%%%%c.%authentic%%%%d.! deceptive! ! 12. Which!term!best!describes!the!compositional!technique!used!in!measures!36! –!40!and!in!measures!40!–!43?!!a.!repetition%%b.%sequence%%c.!imitation! %
! 17!
! LEVEL!11!Answer!Key! ! ! LESSON ONE p.!1!
! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!+!!!!!!!!!1!!!!!!!!!!!+!!!!!!!!!!!!2!!!!!!!!!!!+!!!!!!!!!!!!!!!1!!!!!!!!!!!!+!!!!!!!!!!!!!!!!!!!!2!!!!!!!!!!!!!!+!! p.!2! Secondary!Dominants!
! !!!!!!!!!!!!!!!Bb!Major:!V7!of!!V!!!!!!!!!!!!!!!!!!e!minor:!V7!of!!VI!!!!!!!!!!!!!!!!!!!A!major:!V7!of!!ii!!!!!!!!!!!!!!!!c!minor:!V7!of!!VI! ! Mode!Review!
! ! p.!3! Dorian,!Phrygian!and!Aeolian!Modes! Phrygian)Mode)on)D)
! ! AURAL!SKILLS! !
! !
!
1 LESSON TWO p.!4!
! ! p.!5! Harmonization!
! IV V7/IV V V7/V vi V7/vi
AURAL!SKILLS! !!!!!!!!!!2nd!!inversion!!!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!1st!inversion!!!!!!!!!!!!!!!!!!!!!!!!!!!
!
! ! LESSON THREE p.!6!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Matching! g. alla breve a. subdued. In an undertone. e. syncopation b. a five-tone scale within an octave. j. invention c. the V(V7) of any scale degree other than the tonic. i. simple meter d. very slow. l. lento e. the shifting of an accent from strong to weak beats. h. cédez f. refers to music having two or more simultaneous c. secondary dominant g. indicates a tempo with the half note getting the beat d. largo h. slow down, stretch the tempo. f. polytonality i. a meter in which the pulse can be divided by two. a. sotto voce j. a short contrapuntal work. b. pentatonic k. sustained, smooth and flowing, sometimes slower. k. sostenuto l. slow.
2 p.!6!!!Written!Transposition!
! ! p.!7!!!Score!Analysis!! 1. Identify!the!secondary!dominant!in!measure!7.!!V7!of!!!!V) 2. The!composer,!Kuhlau,!represents!the!!Classical!!period.) 3. Sonatina!means!little!sonata.!) 4. Identify!the!type!of!cadence!found!in!measures!15!–!16.!authentic) ! p.!8!!!!Secondary!Dominants!
B major: V7 of IV f# minor: V7 of V F major: V7 of V Ab major: V7 of ii ! Writing!Scales! D)Aeolian)
) D)Phrygian)
) A)Dorian)
) ! AURAL!SKILLS! !
!
!
3 ! LESSON FOUR ! p.!12! Score!Analysis!
1. (see!score)!
2. appearances!of!the!subject!(S):!!measures!1,!7,!11,!20,!29!
3. appearances!of!the!answer!(A):!!measures!3,!15!
4. appearances!of!the!countersubject!(CS):!!measures!3,!7,!11,!15,!20!
!
Rhythm!
!
!
AURAL!SKILLS!
Chord!Position!
!!!!!root!position!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!1st!inversion!
! !!!!!!!!!!a!R!!! ! !!!!b!!2nd!!! ! !!!!!!c!!R!!! ! d!!1st!!! Dictation!
! !
4 LESSON FIVE p.!13! Written!Transposition!
! p.!16! Composer/Characteristics!Matching!
T Stravinsky I Debussy R Chopin R Rachmaninoff T Prokofiev T Copland R Schumann R Brahms T Bartok T Shostakovich R Tchaikovsky R Liszt T Barber R Mendelssohn I Ravel R Granados T Liebermann T Bernstein T Piano sometimes used percussively R Pedal used for legato and sustained harmony I Harmony often based on 4ths and 5ths T Changing meters and asymmetrical rhythms R More fluctuation in tempo including rubato
AURAL!SKILLS!
!
!
5 LESSON SIX ! p.!17! ! Intervals!
! ! Chords!
! ! Rhythm!
! ! p.!19! ! Score!Analysis! ! 1. During which historical period was the music written? Classical
2. Identify the key and mode that begins the theme and first two variations.
Bb major
3. What is the form of the Thema? binary
4. Using Roman numerals and figured bass, fill in the blanks in measures 1, 2, 3, 4 and 9, 10, 11, 12 with the appropriate chord symbols.
5. What is the meaning of the symbol “sf “ in measure 14 of the theme?
a strong accent, forcefully
6. What is the meaning of the term “con!expressione” at the beginning of Variation 4?
with expression !
6 ! ! ! AURAL!SKILLS! ! 2nd!inversion!!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!!!1st!inversion!!!!!!!!!!!!!!!!!!!!1st!inversion!
! !
! !
7 LESSON SEVEN p.!21!!Writing!Scales!
! ! Fill!in!the!Blanks!! 1. A contrapuntal form in which a short musical theme or subject is presented consecutively by each voice. These statements of the subject alternate with episodes. fugue 2. Indicates a tempo with the half note getting the beat (cut time). alla breve 3. Sections of a fugue in which the subject is not present or does not appear in its entirety. episode 4. The melody appearing against the subject. countersubject 5. Subdued. In an undertone. sotto voce 6. Two notes in the time of three notes of the same value. duplet 7. A rhythmic device superimposing two beats in the time of three or three beats in the time of two. hemiola p.!22!!!!Musical!Excerpt! 1. The musical example above was written by Brahms. Which historical period does it represent?!Romantic 2. Identify the boxed chords. A !Ddim/F!!!!!!!B Edim/G!!!!!!C F/A! 3. Identify the rhythmic device used by the composer in this example. Hemiola ! AURAL!SKILLS!
!
!
8 LESSON EIGHT p.!23! Written!Transposition!
! ! Chords!
! ! p.!24! Intervals!
! Matching! g alla breve e answer b invention . h allemande i gigue f sarabande c secondary dominant k courante j duplet a sotto voce d hemiola AURAL!SKILLS! !!!!!!!!!!!1st!inversion!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!!root!position!
!
!
9 !
LESSON NINE ! p.!25! ! Rhythm!
! ! ! Secondary!Dominants! !
B major: V7 of IV E major: V7 of vi d minor: V7 of VI g minor: V7 of V
! Composer/Characteristics!Matching!
T Bolcom R Schubert
T Khatchaturian I Debussy
T Copland R MacDowell
R Grieg T Gershwin
T Shostakovich R Tchaikovsky
T Kabalevsky T Joplin
R Homophonic texture – melody with accompanimant
I Gliding chords in parallel motion (planing)
T Variety of textures including clusters
I Pedal used for special effects
R Wider range of expression indicated by the composer
! ! !
10 ! p.!27!
Scales!and!Modes! A)Phrygian)
) ) A)Dorian)
) ) D)Aeolian)
)
Fill!in!the!Blanks! ! alla breve Indicates a tempo with the half note getting the beat (cut time). secondary dominant The V (V7) of any scale degree other than the tonic. sotto voce Subdued. In an undertone.
! ! AURAL!SKILLS! !
! !
!
11 LESSON TEN p.!28!!!! Matching! a. sotto voce h. episode f. answer c. invention j. allemande k. gigue g. sarabande b. fugue d. secondary dominant m. courante l. duplet i alla breve e. hemiola
Fill!in!the!Blanks V – vi (VI) or V7 – vi (VI) deceptive cadence A phrase ending using V (or V7) half cadence IV – I (iv – i) plagal cadence V – I(i) or V7 – I(i) authentic cadence ! p.!29!!!!!
Score!Analysis
1. What is the meaning of the title? a dance in moderate time; usually the first movement of a Baroque Suite!
2. Identify the key and mode of the example. Eb major!
3. What is the form of the example? ! ___ ternary ___ binary ___ rondo X rounded binary! 4. Fill in the blanks under the second line of the music with the correct Roman numerals and figured bass. ! vi I6 ii6 // I6/4 V7 V // I !
5. Identify the cadence in measures 7 – 8. authentic cadence! !
12 p.!30! Chords!
! E+ F#6 Ab7/Eb cm7/Eb
! Adim7 Cmin7 Cm/Eb D6 Intervals!
! aug4 M6 P5 m7 p.!31! Written!Transposition!
! Rhythm!
! ! AURAL!SKILLS!
!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!1st!inversion!
!
!
13 LESSON ELEVEN p.!32!
Rhythm!
! ! Musical!Excerpts 1. Identify the style period of the example: ! X Baroque ___Classical ___Romantic ___20th Century! 2. Identify the key and mode. G minor! 3. How many voices does this Fugue have? 4 4. Label all appearances of the subject with S, the answer with A, the countersubject with CS.
Fugue XVI, WTC. I
Bach
!
14 p.!33!
1. Identify the style period of the example. ___Baroque _X_Classical ___Romantic ___20th Century! 2. Give two terms which define the time signature. Cut time, alla breve 3. Fill in the blanks with the appropriate Roman numerals and figured bass. 4. Identify the cadence in measures 3-4. Half cadence 5. The excerpt below is an abridged version of the opening of a Sonata written in sonata allegro form. What are the names of the three main sections? Exposition Development Recapitulation
Sonata,!Hob!XVI:!35!
!
Scales!and!Modes! Dorian))
) ) Phrygian)
) ) Aeolian)
!
15 ! p.!34!
Composer/Characteristics!Matching! ! R Liszt T Bartok T Shostakovich R Rachmaninoff T Prokofiev R Tchaikovsky T Copland T Bernstein R Schumann T Barber R Brahms I Ravel R Waltz and arpeggiated bass lines often used. T Influence of jazz, ragtime, blues I Modes, whole tone scales, pentatonic scales T Modes, 12-tone rows, bitonality R Character pieces with descriptive titles ! Secondary!Dominants!
B major: V7 of ii! b minor: V7 of VI Db major: V7 of V g minor: V7 of iv! ! ! ! AURAL!SKILLS!
! !
! !
16 LESSON TWELVE p.!35! Intervals!
! !!!!!!!!!!!!!!!!!!!!!!!!!dim.!5!!!!!!!!!!!!!!!!!!!!!!!!!!!!m3!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!m6!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!M7! ! Matching! d. alla breve a. A simple melody followed by varied restatements. h. hemiola b. Two notes in the time of three notes of the same value. f. answer c. A lively dance in compound time. The final movement of a Baroque suite. j. fugue d. Indicates a tempo with the half note getting the beat a. theme & variations e. The melody appearing against the subject. c. gigue f. The imitation of a fugal subject in another key. b. duplet g. A dance in moderate time, most often in 4/4 or 2/4 meter. Usually the first movement of a Baroque suite i. sotto voce h. A rhythmic device superimposing two beats in the time of three or three beats in the time of two. e. countersubject i. Subdued. In an undertone. g. allemande j. A contrapuntal form in which a short musical theme or subject is presented consecutively by each voice. These statements of the subject alternate with episodes.
Score!Analysis
1. Label each appearance of the subject (S bars 1, 9, 22, 37), countersubject (CS bars 5, 9, 13, 22, 26, 37, 41), or answer (A bars 5, 13, 26, 41) wherever they occur throughout the fugue.
2. Find and label two or more examples of sequences (seq.) bars 20 -21, 30 – 32, 33 - 34.
3. By measure numbers, locate areas of the fugue which have modulated to the following keys:
F major: 5 – 9, 13 - 17
G minor: 17 – 19 (brief). 22 – 25
Eb major: 37 - 41
C minor: 26 - 30
17 ! p.!38! Chords!
! !!!!!!!!!!!!!!!!!!!!!!!!G!dim!7!!!!!!!!!!!!!!!!!!!!!!!!F#/C#!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Ab6!!!!!!!!!!!!!!!!!!!!!!!!!!!!D7/C! ! ! Written!Transposition!!
! ! ! AURAL!SKILLS! ! !!!!!!!!!!!!!!!root!position!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!!!1st!inversion!!!!!!!!!!!!!!!!!!!!root!position!
! !
!
18 LESSON THIRTEEN p.!41! AURAL!SKILLS!
! !!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!!!!1st!inversion!
! !
! !
! p.!42! Scale/Mode!
! Intervals!!!
! dim. 5 below M7 below aug.6 below m7 below ! Chords!!
! !!!!!!!!!!!!!!!!!!Eb7/G!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!B6!!!!!!!!!!!!!!!!!!!!!!!!!F#dim.7!!!!!!!!!!!!!!!!!!Gb/Db!!!!!!!!!!!!!
19 Secondary!Dominants!!!
! !!!!!!!!!!!!!!!!!!!!!!!!!!V7!of!!IV!!!!!!!!!!!!!!!!!!!!V7!of!ii!!!!!!!!!!!!!!!!!!!!!!!!!!!!V7!of!iv!!!!!!!!!!!!!!!!!!!!!!!!!V7!of!V! Transposition!!
!
! p.!43! Rhythm!
! Composers!and!Characteristics!!! I!!!!Debussy! B!!!polyphonic!texture,!two!or!more!independent!voices! I!!!!modes,!whole!tone!scales,!pentatonic!scales! T!!!modes,!12Ttone!rows,!bitonality! R!!!wider!range!of!expression!indicated!by!the!composer! R!!!Rachmaninoff! T!!!Copland! R Brahms R!!!Liszt! T!!!Barber! Matching!! _d_!alla!breve!! ! !! _h_!hemiola! !! _f_!answer! ! _j_!fugue! ! ! !! _a_!theme!&!variations! !! _c_!gigue! ! ! !! _b_!duplet! !! _i_!sotto!voce! !! _e_!countersubject! ! ! _g_!allemande! !
20 p.!44!
Musical!Excerpts! 1.!!
! _I_ _V4/3_ _V6/5_ _I_ !! a.!!Using!Roman!numerals!and!figured!bass,!analyze!the!chords!for!each!measure.! ! b.!The!left!hand!accompaniment!style!is!called!____Alberti!bass______.! ! c.!The!excerpt!is!taken!from!a!Sonata!by!Haydn.!!Which!musical!style!period!is! represented?!__Classical______! d.!The!texture!of!the!musical!example!is:!___!polyphonic!!_X_homophonic!___!chordal! ! ! 2.!!
! ! ! a.!Which!compositional!device!is!used!in!measure!4?!! ___!duplet!!___!imitation!_X_!hemiola! b.!What!is!the!meaning!of!the!term,!dolce,!found!in!the!first!measure?!sweet,!!!gentle_! c.!What!is!the!meaning!of!the!tempo!marking,!Andante?!__a!walking!tempo______! d.!The!excerpt!was!written!by!Bartok.!!Which!musical!style!period!is!represented?! !!!!!Twentieth!Century!
e.!The!texture!of!the!musical!example!is!__polyphonic!(also!accept!contrapuntal)_!.! ! !
21 p.!45! 3.!
! a.!The!ornament!found!on!the!first!beat!of!measures!2!and!3!is!called:!a!trill! b.!The!texture!of!the!musical!example!is!polyphonic!(also!accept!contrapuntal).! c.!The!example!was!probably!written!during!the!___Baroque__!period.!! ! Score!Analysis! 1.!!Name!the!key!and!the!mode.!!____F!Major______! 2.!The!chord!outlined!in!measure!1!is!__I!(tonic)______.! 3.!The!texture!of!the!music!is:!!_!polyphonic!(also!accept!contrapuntal)!! 4.!The!historical!period!this!piece!represents!is:!__Baroque___! 5.!A!term!which!best!describes!the!opening!melody!is:! ___!answer!!! _X_subject!!!!!___!countersubject!! 6.!Measures!4!–!11!are!best!described!as:! ! ___!exposition!! X!episode! ! ___!answer! 7.!The!cadence!in!measures!11!–!12!is!an!__authentic____!cadence!in!the!key!of!__C!!! major_.! 8.!This!key!is!the!__dominant__!(dominant/subdominant)!of!the!main!key.! 9.!Identify!all!appearances!of!the!subject!by!measure!numbers:!! 1,!2,!12,!13,!16,!17!(Also!accept!3,!4,!7,!8,!14,!!18,!20,!26,!29,!30)!
10.!Identify!the!key!and!mode!of!measures!16!–!18.!!g!minor! 11.!In!measure!25,!beat!three,!and!measure!26,!beat!one,!analyze!the!secondary! dominant!chord!and!the!following!chord.!Use!Roman!numerals!and!figured!bass.!! _V7/IV_!! ! ! __IV_! measure!25,!beat!3! ! measure!26,!beat!1! !!!!!!!!!!!!!!!!!!!!!!!
22 LESSON FOURTEEN p.!50!!!!! AURAL!SKILLS! !
! ! !!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!!2nd!inversion!!!!!!!!!!!!!!!!root!position!!!!!!!!!!!!!!!!!1st!inversion!
!
!
! ! p.!51! Scale/Mode
! Intervals!
! !!!!!!!!!!!!!!M3!below!!!!!!!!!!!!!!!!!!m6!below!!!!!!!!!!!!!!!!!!m2!below!!!!!!!!!!!!!!!!!!aug.!4!below! ! Chords! !!!!!!!!!!!!!!!!!Fm/C!!!!!!!!!!!!!!!!!!!!!!!!!!!G!dim!7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!D6!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!A7/E!
!
23 Secondary!Dominants!!!
! !!!!!!!!!!!!!!!!!!!!!_V7_!of!!_iii_!!!!!!!!!!!!!!!!!!!!!!!!!V7!of!_V_!!!!!!!!!!!!!!!!!!!!_V7_!of!_VI_!!!!!!!!!!!!!!!!!_V7_!of!_vi_! ! Transposition!
!
! p.52! Rhythm
! Composers! _T_!Barber! _R_!Liszt! _T_!Copland! _I_!!gliding!chords!in!parallel!motion! _T_!variety!of!textures!including!clusters! _R_!prominence!of!piano!literature!and!great!pianists! _T_!influence!of!jazz,!ragtime!piano! _R_!Brahms! _R_ Rachmaninoff _T_!Bernstein! ! Matching!! _d_!episode! ! ! ! !! _h_!Baroque!dance!suite! ! _a_!secondary!dominant! ! ! _g_!alla!breve! !! _b_!sarabande! !! _i_!courante! ! !! _c_!duplet! ! _e_!hemiola! !! _j_!gigue! ! _f_!allemande! !
24 p.!53!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Musical!Excerpts! ! ! 1.! !
! ! This!musical!example!was!written!by!Chopin!during!the!____Romantic__!period.! The!term,!leggiero,!means!___lightly______.! The!texture!of!the!music!is!___homophonic______.! The!compositional!technique!illustrated!is!called:!!! ___triplet!!!!___!compound!meter!!!!!___!duplet!!!!!___!polytonality!!!!!_X_hemiola! ! ! ! 2.! ! ! ! The!left!hand!accompaniment!pattern!of!this!example!is!best!described!as:!! ___!repetition!!!!!!___!sequence!!!!_X_!ostinato!!!!!___!sotto!voce! The!Italian!term!for!the!time!signature!“cut!time”!is!____alla!breve______.! The!articulation!marking!under!the!last!two!right!hand!chords!is!called! __tenuto___.! The!marking,!molto)marcato,!means!______very!stressed,!accented______.! p.!54! ! ! 3.!
! _I_ _V7/IV_ _IV6/4_ Analyze the chords in measures 1 – 3 using Roman numerals and figured bass. (measure 2 is a secondary dominant) The!example!was!most!likely!written!during!the!____Classical____!historical! period.! The!texture!of!the!example!is:!____homophonic______!
25 ! Score!Analysis! ! 1. The!historical!period!represented!is!the!____Baroque____!period.!
2. An!Allemande!is!!__a!dance!in!moderate!2/4!or!4/4!time;!usually!the!first! movement!of!a!Baroque!suite___.! 3. Identify!the!key!and!mode!of!the!piece.!___a!minor____!
4. The!formal!structure!is:!!___!sonata!!_X_!binary!___!rounded!binary!!___!ternary!
5. Circle!a!passing!tone!and!a!lower!neighboring!tone!in!measure!1.!!Label!them!
PT!and!LN!
6. Measures!3!and!4!are!examples!of!a(n):!!! ! ! ! !
! ___!episode!!___!exposition!!_X_!sequence!
7. The!ornament!in!measure!two!is!called!a!__mordent____!
8. The!ornament!in!measure!four!is!called!a!__turn______!
9. The!ornament!in!measure!six!is!called!a!___trill______!
10. Identify!the!key!and!mode!of!the!cadence!in!each!of!the!following!measures.!
a. measure!6!___C!major__!! !
b. measure!8!___e!minor__!! !
c. measure!10!___d!minor____! !
d. measure!12!__C!major___!!
e. measure!14!___a!minor___!!
11. Identify!the!boxed!secondary!dominants!in!measure!15.!
i. A!!V7!of!__VII__! B!!V7!of!__VI____!
!
26 Lesson One p.#1# Notation#
# p. 3 Composers# # B Scarlatti B Handel R Brahms T Stravinsky C Beethoven T Bolcom B Bach R Tchaikovsky T Copland R Liszt R Schumann R MacDowell C Mozart I Ravel I Debussy R Schubert R Granados T Shostakovich T Khachaturian T Bartok C Kuhlau B Telemann! # AURAL#SKILLS#
whole tone scale
! 1! Lesson Two # p. 6 # AURAL#SKILLS#
Lesson Three p.#7# Seventh#Chords#
# !!!!!!!fully!diminished!7th!!!!half!diminished!7th!!!!!!!!!!major!7th!!!!!!!!!!!!!!!!minor!7th! # Composer#Review#(see$list$on$p.$2)$ # p.#8# Matching# d allemande a. A dance in triple time. a courante b. The shifting of an accent from a strong beat to a weak beat e sarabande c. A rhythmic device superimposing two beats in the time of three, or three beats in the time of two. f gigue d. A dance in moderate 2/4 or 4/4 time. b syncopation e. A slow dance in triple time. c hemiola f. A lively dance in compound time.
! 2! Score#Analysis# a) Name the beginning key of the piece. d minor b) The texture of the music is predominantly: X homophonic ___ polyphonic ___ chordal c) Name the circled interval in measure 3 (size and quality). diminished 5th d) Name the cadence in measure 4. half cadence e) Identify the boxed chord in measure 6 using a Roman numeral and figured bass symbol. iv6 f) Measures 10 – 13 appear to be in which key? D major g) How does the tonality of measures 10 – 13 relate to the main key? ___ it is the relative major ___ it is the relative minor X it is the parallel major ___ it is the parallel minor h) Identify the boxed chord in measure 17 using a Roman numeral and figured bass symbol. i6/4 i) Identify the boxed chord in measure 19 using a Roman numeral and figured bass symbol. V7 j) The overall form of the piece is: ___ binary ___ rondo ___ sonata allegro X ternary k) This piece was written during the: ___ Baroque Period ___ Classical Period X Romantic Period ___ Twentieth Century p.#10###Intervals#
### # # AURAL#SKILLS# mixolydian
! 3! Lesson Four # p.#11# The#Whole#Tone#Scale#
# # # Notation#
# # p.#12# Composer#Matching#
R Schumann B Telemann T Joplin
C Clementi T Stravinsky C Mozart
C Beethoven T Prokofiev I Ravel
B Bach R MacDowell C Haydn
T Copland R Liszt R Grieg
C Kuhlau R Rachmaninoff I Debussy
B Handel R Granados T Bolcom
T Bernstein T Liebermann R Schubert
# Seventh#Chords#
# !!!!!!!!!!!!!!!!minor!7th!!!!!!!!!!!half!diminished!7th!!fully!diminished!7th!!!!!!!!!!major!7th!
! 4! p.#13# # Intervals#
# !!!!!!!!!!!!!!!!!!!!!minor!2nd!!!!!!!!!!!!!!!!diminished!5th!!!!!!!!!!!!!!!!major!3rd!!!!!!!!!!!!!!!!!!!!!!!!!!!minor!7th!! # Matching# d. retenu a. the shifting of an accent from a strong beat to a weak beat. e. pentatonic b. a non-harmonic tone often played on the beat resolving stepwise. h. largo c. slow. b. appoggiatura d. hold back. g. turn e. a five-tone scale within an octave such as G A B D E, or Gb Ab Bb Db Eb. c. lento f. sustained. Smooth and flowing. f. sostenuto g. a four note ornament using upper and lower neighbors. i. cédez h. very slow. j. maestoso i. slow down, stretch the tempo. a. syncopation j. majestic
# AURAL#SKILLS#
! 5! Lesson Five p.#14# Mode#Review# Lydian!mode!on!C!
! Mixolydian!mode!on!D!
# # p.#16# Written#Harmonization#
# # Matching# ! j. Alto clef d. Gigue ! e. Tenor clef g. Bitonality f. Atonality h. Half diminished seventh chord k. Fully diminished seventh chord n. retenu a. au mouvement m. m.d. (mano destra) l. m.s. (mano sinistra) i. Sarabande b. Allemande c. Courante
! 6! p.#17# Notation#
# # # AURAL#SKILLS# !lydian!!
Lesson Six p.#18# Diminution#
# # p.#19# Secondary#Dominants#
f minor: A major: F major: c# minor: V7 of iv V4/3 of iii V6/5 of vi V6/5 of VI
! 7! 9th,#11th#and#13th#Chords#(the$added$note$can$be$in$a$different$octave)#
# # Intervals#
# major 3rd diminished 5th perfect 5th minor 7th above below above below p.#20# Musical#Excerpt# ! 1. Which one of the standard dances of a Baroque suite is represented by the excerpt below? ___ Allemande ___Courante ___ Sarabande X Gigue.
2. Give the name of the ornament found in measures 1 and 3. mordent 3. In the first measure, write in the notes that would be played. Note: Rhythmic values may vary according to the performance style and are not required here.
! # # AURAL#SKILLS#
! 8! Lesson Seven # p.#21#
Seventh#Chords#
# minor 7th half-diminished 7th fully-diminished 7th major 7th Modes# Phrygian mode
Mixolydian mode
# # p.#22#
Written#Harmonization#
# V V2 I6 I IV V/vi vi V I I6 IV ii I6/4 V7 I ###########################(V4/2) # Musical#Excerpt#
a) Which compositional device is used in measure 4? ___ duplet ___ imitation X hemiola b) What is the meaning of the term, dolce, found in the first measure? sweet, gentle c) What is the meaning of the tempo marking, Andante? A walking tempo d) Which musical style period is represented? 20/21st century e) The texture of the musical example is polyphonic.! # #
! 9! p.#23# # Characteristics#of#Musical#Style#Periods# # B Extensive use of ornamentation
R More fluctuation in tempo including rubato
B Polyphonic texture – two or more independent voices
T Piano sometimes used percussively
R Prominence of piano literature and great pianists
B Instruments: harpsichord, clavichord
T Changing meters and assymetrical rhythms
C,R Homophonic texture – melody with accompaniment
B Consistent mood throughout
T Influence of jazz, ragtime, blues
I Harmony often based on 4ths and 5ths rather than triads
T Modes, 12-tone rows, bitonality
C Phrases easily defined
T Melodies may be angular and disjunct, less singable
# # AURAL#SKILLS#
phrygian
! !
! 10!
Lesson Eight # p.#24#
Notation# #
# # # p.#25#
Matching# ! E. pedal point A. the C clef locating middle C on the 4th staff line.
K. sostenuto B. to be performed in a solemn manner.
I. alto clef C. a form of repetition in which note values are halved.
C. diminution D. The beat can be divided by two.
B. grave E. a held or repeated note, usually in the bass, sounding against changing harmonies. F. morendo F. slowly fading away, dying.
J. quartal harmony G. in a heavy firm manner.
D. simple meter H. a form of repetition in which note values are doubled. H. augmentation I. the C clef locating middle C on the 3rd staff line.
G. pesante J. harmony built on the interval of a fourth.
A. tenor clef K. sustained, smooth and flowing!
! !
! 11! Musical#Excerpt#
1. What is the meaning of the title, Sonatina? Little Sonata
2. The left hand pattern in measures 1 – 6 is called Alberti Bass.
3. Give the meaning of the tempo marking, Allegro con spirito. A fast tempo; with spirit 4. fz (same as sfz) is an abbreviation for the term, sforzando, and means a#strong#accent,#forcefully 5. The repeated D broken octaves in measures 12 – 15 are an example of: Pedal point, ostinato 6. Identify the key for the cadences in the following measures: 7 – 8 D major 19 – 20 A major 21 – 22 E major
7. These cadences are: X authentic ___ half ___ plagal
8. The composer, Clementi, wrote this piece during which musical style period? Classical # p.#27# Pop#Chord#Symbols# !!!!!!!!!!!!!!!!!B!dim7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!DM7/F#!!!!!!!!!!!!!!!!!!!!!!G7/F!!!!!!!!!!!!!!!!!!!!!!!!Em7/B!
# # AURAL#SKILLS#
P. 27
! 12! Lesson Nine # p.#28# Pop#Chord#Symbols# F dim7 F#M7/A# Ab7/Gb Gm7/Bb
# Characteristics#of#Musical#Periods# I Modes, whole tone scales, pentatonic scales.
T Variety of new and old forms.
B Forms: binary.
R Wider range of expression indicated by the composer.
R Prominence of piano literature and great pianists.
C Instruments: fortepiano, piano.
R Character pieces with descriptive titles.
T Influence of jazz, ragtime, blues.
B Consistent mood throughout.
T A variety of textures including clusters.
I Gliding chords in parallel motion (planing).
T Modes, 12-tone rows, bitonality.
C Phrases easily defined.
C Themes of contrasting mood or character.
T Changing meters and asymmetrical rhythms.!
# p.#29# # Intervals#
# !!!!!!!!!!!!!!!!!!!!Perfect 4th diminished 5th minor 3rd augmented 7th below above below above
! 13! Written#Harmonization#
# # Modes# Lydian!
! Mixolydian!
! # p.#30# # Secondary#Dominants#
# E major: c minor: G major: Db major: V4/2 of IV V7 of VI V6/5 of ii V7 of V # Augmentation#
# # 9th,#11th,#and#13th#Chords#(the$added$note$can$be$in$a$different$octave)#
# !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!9th!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!13th!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!11th!!!!!!!!!!!!!!!!!!!!!!!!!!!!!9th!!
! 14! # # Composer#Matching# R Mendelssohn C Clementi T Joplin
I Debussy T Shostakovich C Haydn
B Telemann T Bartok R MacDowell
R Rachmaninoff R Granados B Handel
B Scarlatti C Kuhlau I Ravel
# p.#31#
Musical#Excerpt# # 1. The left hand of measures 1 – 2, and 5 – 6 is best described as: ___ repetition X pedal point
2. Find and label one example of each of the following non-harmonic tones: passing tones (PT), upper neighboring tones (UN), lower neighboring tones (LN) numerous examples – see score
3. Identify the style period in which the music was composed. Classical
4. Locate and circle a V7/IV chord. Next to last measure; beat 4 # # AURAL#SKILLS#
whole-tone scale
! 15!
Lesson Ten p.#32#
Notation#
# # # Seventh#Chords#
# major 7th minor 7th fully-diminished 7th half-diminished 7th# # Matching# E. retenu A. in a calm, quiet manner. D. maestoso B. To be performed in a solemn manner. J. allargando C. A form of repetition in which note values are halved. C. diminution D. Majestic. B. grave E. Hold back. F. lento F. Slow. A. tranquillo G. In a heavy firm manner. K. alla breve H. A form of repetition in which note values are doubled. H. augmentation I. slow down, stretch the tempo G. pesante J. Becoming slower and often louder, usually at a climax. I. cedez K. Cut time. L. alto clef L. The C clef locating middle C on the 3rd staff line. N. m.d. (mano destra) M. Left hand. O. tenor clef N. Right hand. M. m.s. (mano sinistra) O. The C clef locating middle C on the 4th staff line. #
! 16! p.#33#
Composer#Matching# C Mozart C Clementi T Kabalevsky I Debussy T Shostakovich C Haydn R Grieg T Copland T Prokofiev T Joplin T Barber B Handel B Telemann C Kuhlau I Ravel # Musical#Excerpt# 1. Which of the following style periods does the music represent? ___ Baroque ___ Classical X Romantic ___ 20th Century
2. What is the meaning of the con pedale notation in the first measure? With pedal
3. The texture of the music is: X homophonic ___ polyphonic 4. Identify the cadence in the last two measures. Authentic # p.#34#
Pop#Chord#Symbols# !!!!!!!!!!!!!!!!!!!!!!!!!Eb!dim7!!!!!!!!!!!!!!!!!!!!!!!!EM7/B!!!!!!!!!!!!!!!!!!!!!!!!!!!!!B7/A!!!!!!!!!!!!!!!!!!!!!!!!!!!Fm7/C!
# # # AURAL#SKILLS#
P.34
! 17! Lesson Eleven p.#35# Characteristics#of#Musical#Periods# C,R Homophonic texture – melody with accompaniment T Piano sometimes used percussively C Forms: ternary, rounded binary, sonata-allegro I Harmony often based on fourths and fifths rather than triads T Modes, 12-tone rows, bitonality C Pieces: sonatinas, sonatas R Character pieces with descriptive titles B Extensive use of ornamentation B Polyphonic texture – two or more independent voices T Influence of jazz, ragtime, blues I Modes, whole tone scales and pentatonic scales B Instruments: harpsichord, clavichord C Phrases easily defined I Pedal used for special effects # Written#Harmonization#
# # Secondary#Dominants#
# g minor: B major: c minor: G major: ###########V2!(V4/2)of!VI!!!!!!!!!!!!!!!!!!!!!!!V7!of!IV!!! !!!!!!!!!!!!!!!!V6/5!of!V!!! !!!!!!!!!!!!V6/5!of!iii # p.#36# 9th,#11th,#and#13th#Chords#$(the$added$note$can$be$in$a$different$octave)#
# !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!13th! !!!!!!!!!!!!!!!!!!!!!!!!!!!9th! !!!!!!!!!!!!!!!!!!!!!!11th!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!13th!!
! 18! Intervals#
# major 6th augmented 5th minor 2nd minor 7th below above below above # Musical#Excerpt# 1. Identify the time signature of the example. Use numbers as well as the correct term. 2/2, alla breve 2. During which style period was the music written? Classical 3. The example is part of the first section of music written in Sonata-Allegro Form. What is this section called? Exposition 4. Name the other two sections: Development Recapitulation 5. What is the name of the ornament in measure 12? turn 6. Write the letters of the notes that would be played. A – G – F# - G 7. What is the name for the compositional technique used in measures 9 and 10? sequence 8. Identify the harmony found in measure 14. Use Roman numerals and figured bass. V7/V # # p.#38# Augmentation#
# # # AURAL#SKILLS# dorian!
! 19! Lesson Twelve p.#39# Notation#
# # Secondary#Dominants#
# e minor: Ab major: f# minor: F major: V4/3 of VI V2 of vi V7 of VI V6/5 of V # Seventh#Chords#
# half-diminished 7th major 7th fully-diminished 7th minor 7th # Scales#
Whole tone scale
Phrygian mode
p.#40# Composer#Matching# R Schumann R Liszt B Scarlatti R Rachmaninoff B Bach R Tchaikovsky R Grieg T Copland T Prokofiev T Joplin T Barber C Mozart B Telemann C Clementi I Debussy #
! 20! Musical#Excerpts# # 1. Which style period is represented by the example below? 20/21st Centuries 2. What is the meaning of the tempo marking? Lively, quick! !
! # p.#41#
1. Identify the ornaments in the following measures:! measure 13 trill measures 14 and 15 mordent 2. Write in the notes that would be played. Measure 13: A – G – A – G Measure 14: C – B - C Measure 15 beat 2: A – G - A Measure 15 beat 4: F – E – F 3. Identify the quality of the circled 7th chord in measure 13. half diminished! 4. Which compositional technique is used in measure 15? sequence! 5. Identify the key of the cadence in measure 14. e minor! # # # AURAL#SKILLS#
! 21! Lesson Thirteen p.#43! mixolydian!
p.#44# Modes!!!
! # Intervals!
! !!!!!!!!!!dim!5th!above! !!!!!!!!!!maj!2nd!below!!!!!!!!!!!!!!aug!7th!above!!! !!!!!!!!min!6th!below! # Chords#(the$added$note$can$be$in$a$different$octave)#
! !!!!!!!!!!11th!!! ! !!!!!!!!!9th!!! ! !!!!!13th!! !!!!!!!!!!!!!!!!9th!!
! 22! Seventh#Chords!
! !!!!!!!!!!!!!!!!!!!!!minor!7th!!! !!!!!!!!!!!!!!!!!!!!!!major!7th!!! !!!!!!!!half!diminished!7th!!! !!!!fully!diminished!7th!! # Secondary#Dominants!
! !!!D!major:!V4/2#of#IV!!!!!g!minor:!V4/3#of#V!!!!!!!!G!major:!V7#of#V!!!!!!!!!!!f!minor:!V6/5#of#VI! ! p.#45# Notation!
! #
# # Written#Harmonization!
! ! Pop#Chord#Symbols!
! # Composers!! _T_!Barber! ! _B_!Handel! ! ##R#!Schumann! ##R#!Brahms! ! _T#!Stravinsky! _R#!MacDowell! ##C!Beethoven!! _T_!Prokofiev!! _B#!Scarlatti! _B_!Bach! ! _R_!Tchaikovsky! _I#!!Ravel! _T_!Copland! ! _R_!Liszt! ! _C_!Mozart!
! 23! p.#46# Characteristics#of#Musical#Periods! ! _R_!!! More!fluctuation!in!tempo,!including!rubato! _C_!!!!! Phrases!easily!defined! _I_!!!!! Gliding!chords!in!parallel!motion!(planing)! _B_!!!!! Extensive!use!of!ornamentation! _T_!!!!! Modes,!12[tone!rows,!polytonality! _C_!!!!! Instruments:!fortepiano,!piano! _I_!!!!! Pedal!used!for!special!effects! _C_!!!!! Themes!of!contrasting!mood!or!character! _T_!!!!! Variety!of!new!and!old!forms! C,#R!!! Homophonic!texture!–!melody!and!accompaniment! _B_!!!!! Form:!binary!dance! _R_!! Wider!range!of!expression!indicated!by!the!composer! ! ! # Matching! ! _E_!!!!quartal!harmony! A.!!A!pitch!around!which!the!music!centers.! _I_!!!!!sotto!voce! ! B.!!To!be!performed!in!a!solemn!manner.! _A_!!!!tonal!center! ! C.!!A!form!of!repetition!in!which!note!values!are!halved.! _C_!!!!diminution! ! D.!!Slow!down,!stretch!the!tempo.! _B_!!!!grave! ! ! E.!!Harmony!built!on!the!interval!of!a!fourth.! _F_!!!!lento! ! ! F.!!Slow.! _J_!!!!retenu! ! ! G.!!In!a!heavy!firm!manner.! _D_!!!!cédez! ! ! H.!!A!form!of!repetition!in!which!note!values!are!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!doubled.! _H_!!!!augmentation! ! I.!!!Subdued.!!In!an!undertone.! _G_!!!!pesante! ! ! J.!!!Hold!back.! ! !
! 24! p.#47###########################################################Musical#Excerpts# Excerpt!#1:!!Beethoven!Sonata!Op.!10!No.2,!Presto$ 1. In!which!key!does!the!music!begin?!F#major! 2. Which!key!is!represented!by!measures!9!–!18?!C#major! 3. The!term!for!this!change!of!key!is!modulation! 4. Fill!in!the!blanks!in!measures!17!and!18!with!Roman!numerals!and!figured! bass.! 5. The!cadence!in!measures!17!–!18!is:!_X_!authentic!!___!plagal!!___!half! 6. By!means!of!measure!numbers,!locate!a!sequence.!11#`#14! 7. Measures!1[!8!are!best!described!as:!___!repetition!!_X_!!imitation!___!an!episode! 8. In!the!music,!circle!and!label!an!example!of!each!of!the!following:!a!passing! tone!(PT),!an!upper!neighboring!tone!(UN),!a!lower!neighboring!tone!(LN)! (many(examples(of(each(are(possible(4(check(the(score)$ !
!
! 25! p.#48# Excerpt!#2:!!Waltz!Op.!64!No.!1!by!Chopin! 1. Fill!in!the!blanks!with!Roman!numerals!and!figured!bass.! 2. The!music!was!written!during!the!Romantic!period.! 3. The!texture!of!the!music!is:! ! ___!!polyphonic!_X_##homophonic!!___!chordal! !
! ! Excerpt!#3:!L’isle$Joyeuse!by!Debussy! 1. The!scale!used!in!the!composition!of!this!excerpt!is:!! ___!major!___!minor!___!pentatonic!_X_#whole#tone! 2. The!music!was!composed!during!the!Impressionistic!period.! !
! ! ! Excerpt!#4:!Intermezzo!Op.!119!No.!3!by!Brahms! 1. Which!term!best!describes!the!rhythmic!relationship!of!measures!1!and!2! with!measures!41!and!42?!!!! ___!diminution!!!!!!___syncopation!!!!!_X_#hemiola! 2. The!music!was!composed!during!the!Romantic!period.! ! ! ! ! ! ! ! ! !
! 26! Lesson Fourteen p.#50 phrygian
# p.#51# Modes!
! # Intervals!
# !!!!!!!!!!min!7th!below!!!!!!!!!!!!!!aug!4th!above!!!!!!!!!!!perfect!5th!below!!!!!!!!!min!3rd!below! ! # Chords#(the$added$note$can$be$in$a$different$octave)#
! !13th!!! ! !!!!!!!!!!!11th!!! ! !!!!!!!!!!9th!!! ! !!!!11th!!
! 27! Seventh#Chords!
! !!!minor!7th!!!!!!!!!!!half!diminished!7th!!!!!!!!!!!major!7th! !!fully!diminished!7th! ! # Secondary#Dominants!
! !!!bb!minor:!V4/2#of#III!!!!A!major:!V7#of#IV!!!g!minor:!V6/5#of#V!!!!!B!major:!V4/3#of#ii# #######(V2)# ! ! p.#52# # Notation! !
! !
! ! # Written#Harmonization! !
! ! ! Pop#Chord#Symbols! !
! !
! 28! Composers! _R!!!Schubert! ! ! _C#!Clementi! ! ! _T_!!Joplin! ! ! _I!!!Debussy! ! ! _T_!!Shostakovich! ! _C_!!Haydn! ! _B_!!Telemann! ! _T_!!Bolcom! ! ! _R_!Mendelssohn! _R_!!Chopin! ! ! ##R#!!!Granados! ! ##B##!!Handel! _B_!!Scarlatti! ! ! ##T#!!!Bernstein! ! _I_!!Ravel! ! p.#53# Characteristics#of#Musical#Periods! _I_!!!!!Gliding!chords!in!parallel!motion!(planing)! _C_!!!!Forms:!!ternary,!rounded!binary,!sonata[allegro! _B_!!!!Polyphonic!texture!–!two!or!more!independent!voices! _T_!!!!Piano!sometimes!used!percussively! _R_!!!!Prominence!of!piano!literature!and!great!pianists! _C_!!!!Instruments:!!fortepiano,!piano! _I_!!!!!Harmony!often!based!on!fourths!and!fifths!rather!than!triads! _C_!!!!Pieces:!!sonatinas,!sonatas! _B_!!!!Consistent!mood!throughout! _T_!!!!Influence!of!jazz,!ragtime!and!blues! _T_!!!!Variety!of!textures!including!clusters! _R_!!!!Character!pieces!with!descriptive!titles! _B_!!!!Extensive!use!of!ornamentation! _T_!!!!Modes,!12[tone!rows,!polytonality! ! Matching## _K_!!!!pedal!point! ! A.!Softly!fading!away,!dying.! _D_!!!!hemiola!! ! B.!!Becoming!slower!and!often!louder.! _A_!!!!morendo! ! C.!!Left!hand.! _B_!!!!allargando! ! D.!A!rhythmic!device!superimposing!two!beats!in!the!! ######################################################!!!!!!time!of!three!or!three!beats!in!the!time!of!two! _H_!!!!tranquillo! ! E.!!The!C!clef!locating!middle!C!on!the!4th!staff!line.! _I_!!!!m.d.!(mano!destra)! F.!Sustained.!!Smooth!and!flowing.!!Sometimes!slower.! _C_!!!!m.s.!(mano!sinistra)! G.!Majestic.! _J_!!!!alto!clef! ! ! H.!In!a!calm,!quiet!manner.! _E_!!!!tenor!clef! ! I.!!Right!hand.! _G_!!!!maestoso! ! J.!!The!C!clef!locating!middle!C!on!the!3rd!staff!line.! _F_!!!!!sostenuto! ! K.!!A!held!or!repeated!note,!usually!in!the!bass,!sounding! !!!!!!against!changing!harmonies.!
! 29! p.#54#
Musical#Excerpts# ! Excerpt!#1:!!!Fugue!XV,!BWV!884!by!J.!S.!Bach! a) This!Fugue!has!3!voices.! b) Give!inclusive!measure!numbers!for!each!appearance!of!the!subject.! 1#–#7#(8#beat#1),#15#–#20#(21#beat#1)##### c) Give!inclusive!measure!numbers!for!each!appearance!of!the!answer.! 8#–#14#(15#beat#1)## d) The!opening!section!of!a!Fugue!is!called!the!exposition.! e) The!ornament!in!measure!10!is!called:!!___!a!trill!!!!!!___!a!turn!!!!!!_X_a# mordent! f) This!piece!was!written!during!the!Baroque!period.! g) The!compositional!technique!used!in!measures!17![!19!is:!a#sequence!! !
! #
! 30! # p.#55# Excerpt!#2:!!Sonata!Op.!14!No.!2!by!Beethoven,!Andante$ $ a) The!example!is!written!in!the!key!of!!C#Major.! b) It!was!written!during!the!Classical!period.! c) Identify!the!cadence!in!measure!4:!!_X_#half!!!!!!___!plagal!!!!!!!___!authentic! d) Fill!in!the!blanks!below!measures!3!–!4,!6,!9!–!10,!and!11!with!Roman! numerals!and!figured!bass.!! e) The!meaning!of!the!tempo!marking,!Andante,!means!a#walking#tempo.!! f) The!quality!of!the!circled!chord!in!measure!7!is:!!! ___!dominant!7th!!!!!!!!!!___!!half!diminished!7th!!!!!!_X_##fully#diminished#7th! ! g) The!quality!of!the!circled!chord!in!measure!8!is:!! _X#!!#dominant#7th!!!!!!!!!!___!!half!diminished!7th!!!!!!___!fully!diminished!7th! ! $
! ! ! #
! 31! p.#56###################Excerpt!#3:!!Impromptu!Op.$90$No.$4!by!Schubert# a) The!example!illustrates!the!following!technique:!!___!diminution!!_X_!# hemiola! b) Fill!in!the!blanks!with!the!chord!quality!(ex.!Major/minor/diminished!7th! etc).!! c) The!music!was!written!during!the!Romantic!period.!
! ! Excerpt!#4:!!March!by!Bartok! a) What!is!the!meaning!of!sempre$simile!(bar!3)?!always#continue#in#the#same# way! b) What!is!the!meaning!of!m.d.!(measure!6)?!right#hand! c) The!left!hand!compositional!pattern!in!measures!1!–!4!can!be!best!described! as:____!alla!breve!! #X##ostinato! ! ____!pedal!point! d) The!music!was!composed!during!the!20/21st#Centuries!period.!
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! 32!