Chapter 29 Dictation Handout

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NAME _______________________________________ Chapter 29 Dictation Exercises Section 1. Melodic Dictation You will hear melodies that are four measures in length. Both major and minor keys are possible. Each melody will contain altered tones. The key signature and time signature are provided to you on each blank staff. Click the Play button to hear each exercise. Before each melody begins, you will hear the notes of the entire scale played stepwise up and down, then you will hear the tempo counted off. Write each melody using the correct rhythm. 1. 2. 3. 4. 5. 6. page 1 Section 2. Interval Identification a. Thirds You will hear a variety of thirds. Listen to each interval and identify it as one of the listed qualities. A diminished third sounds identical to a major 2nd, and an augmented third sounds identical to a perfect 4th. 1. major 3rd minor 3rd diminished 3rd augmented 3rd 2. major 3rd minor 3rd diminished 3rd augmented 3rd 3. major 3rd minor 3rd diminished 3rd augmented 3rd 4. major 3rd minor 3rd diminished 3rd augmented 3rd 5. major 3rd minor 3rd diminished 3rd augmented 3rd 6. major 3rd minor 3rd diminished 3rd augmented 3rd 7. major 3rd minor 3rd diminished 3rd augmented 3rd 8. major 3rd minor 3rd diminished 3rd augmented 3rd 9. major 3rd minor 3rd diminished 3rd augmented 3rd 10. major 3rd minor 3rd diminished 3rd augmented 3rd b. Sixths You will hear a variety of sixths. Listen to each interval and identify it as one of the listed qualities. An augmented 6th sounds identical to a minor 7th. 1. major 6th minor 6th augmented 6th 2. major 6th minor 6th augmented 6th 3. major 6th minor 6th augmented 6th 4. major 6th minor 6th augmented 6th 5. major 6th minor 6th augmented 6th 6. major 6th minor 6th augmented 6th 7. major 6th minor 6th augmented 6th 8. major 6th minor 6th augmented 6th 9. major 6th minor 6th augmented 6th 10. major 6th minor 6th augmented 6th page 2 NAME _______________________________________ Section 3. Identify Augmented Sixth Chords in Progressions You will hear chord progressions containing augmented sixth chords. The rhythms below represent the rhythm of the chord progression. Circle each augmented sixth chord where you hear it in the progression. 1. 2. 3. 4. 5. 6. 7. page 3 8. 9. 10. page 4 .

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Tonalandextratonal Functions of Theaugmented
TONAL AND EXTRATONAL FUNCTIONS OF THE AUGMENTED TRIAD IN THE HARMONIC STRUCTURE OF WEBERN'S 'DEHMEL SONGS' By ROBERT GARTH PRESTON B. Mus., Brandon University, 1982 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music, Music Theory) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1989 © Garth Preston, 1989 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver, Canada DE-6 (2/88) ii ABSTRACT: TONAL AND EXTRATONAL FUNCTIONS OF THE AUGMENTED TRIAD IN THE HARMONIC STRUCTURE OF WEBERN'S 'DEHMEL SONGS' The composing of the 'Dehmel Songs' marks a pivotal juncture both in Webern's oeuvre and in the history of music in general. The years that saw the birth of this cycle of five songs, 1906-8, comprise what is generally regarded as a period of transition, in the work of Schoenberg, Webern and Berg, from a 'late tonal' style of composition to an early 'atonal' style. In this study I approach the 'Dehmel Songs' from the perspective that its harmonic structure as a whole can be rendered intelligible in a theoretical way by combining a simple pitch-class-set analysis, which essentially involves graphing the pattern of recurrence of the 'augmented triad' as a motivic harmonic entity—a pattern which is in fact serial in nature-through the course of the unfolding harmonic progression, with a tonal interpretation that uses that pattern as a referential pitch-class skeleton.
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