Table of Standard Errors Music Theory 221 - 224 Part One: Truly Egregious Errors To Be Avoided At All Costs Error Textbook References Notes Parallel 1, 5, 8 Pgs 72 – 73   Hidden 5, 8 Pg 75 Outer voices only when soprano moves by leap Doubled LT     …

A Few Reminders to Consider: 1. In minor keys, it’s crucial to remember to raise the leading tone. That’s probably the #1 cause for homework assignments which should have been A’s or B’s coming out as C’s or D’s. 2. The three basic harmonic functions are: …

What Does Musical Analysis Tell Us? Extracted from Nicholas Cook: A Guide to Musical Analysis, Chapter 6  Annotations (paragraphs in italics ) by Scott Foglesong  There are plenty of clearly defined techniques of musical analysis, but it is not always too …

A Suggested Outline for an Analysis Paper Part I: Background This can provide historical background to the composition of the work in question. It needn’t be terribly involved, but at the same time there may be historical aspects that have bearing on the …

Motives Assignments: Recordings Click on the links below to play the selection: 01 - E Major 2/4 02 - G Minor 3/4 03 - C Minor 3/4 04 - G Major 2/4 05 - C Minor 3/4 06 - E-flat Major 3/4 07 - A Major 3/4 08 - F Minor 2/4 09 - A Major 3/8 10 - E Major 3/8 …

Motives Click on an example for playback … … Motives …

Cadences Assignment Identify all of the cadence types (both harmonic and structural) in the following four selections. Each is available as a PDF file, and there is a recording available of each as well. Beethoven: Seven Peasant Dances, No. 4 WoO 168 …

Cadences  Click on musical examples for playback I. Harmonic Types A. Authentic Perfect Imperfect B. Plagal C. Deceptive D. Half Approached directly to V Approached via cadential 64 “Phrygian” cadence in minor II. Structural Types A. Delayed Cadence …

Phrases Click on the musical examples for playback I. Conventional phrase: four measures long, terminated by a cadence, usually authentic or half. The idea of the conventional 4-bar phrase is a convenient starting point for study, and is not to be taken …

Inherently Irregular Phrases Irregularity in phrases results either from reaching the cadence a bit too soon, or by an unequal association of melodic members (i.e., 2-measure group plus 3-measure group resulting in a 5-measure phrase.) Click here for …

Irregular Phrases: Extensions at the Beginning A.    Extensions at the beginning of the phrase: an extension which occurs before the phrase proper has begun but is part of the phrase rather than independent of it. Generally, careful listening will reveal …

Irregular Phrases: Extensions in the Middle A.    Extensions within a phrase: these can be confusing, unless the ‘regular’ design of the phrase is carefully examined. At any inserted extension, the phrase may be (figuratively speaking) pried apart to …

Irregular Phrases: Extensions at the End of the Phrase Extensions at the End of the Phrase it is sometimes difficult to differentiate between extensions at the end and those within a phrase. It will prove helpful to remember that in most instances the …

Periods Click here for Scott Foglesong's audio lecture on basic period structures. Definition: two phrases, called antecedent and consequent Play antecedent only Play consequent only Play entire phrase (or click on the example) Antecedent: interrogative …

Period Expansions I.Extensions of Phrases Within a Period: Hear Scott Foglesong's lecture on this section . A.Extension at beginning of phrases 1.Typically such an extension will be of an introductory nature. However, one must be careful to distinguish …

Two-Part Song Form I.Simple two-part song form A.Part I 1.From phrase to double period in length 2.Cadence: AC in I, V, or related; HC B.Part II 1.From phrase to double period in length 2.If the two parts aren’t identical in length, part II is usually the …

Three-Part Song Form I.Incipient three-part song form (incipient ternary; rounded binary) A.Smallest three-part song form B.Part I: two phrases, usually as some kind of period C.Part II: single four-measure phrase D.Part III: return, either exact or with …

Expanded Two-Part Song Form Baroque Binary Dances   Clavier Partita No. 2 in C Minor, BWV 826 IV: Sarabande   A            1 – 8 Parallel Period (by contour similarity)   1 – 4     Antecedent: Ends on V 5 – 8     Consequent: Modulates to Relative Major …

Compound Song Form I.        Enlarged Three-Part Form A.      Mendelssohn Song Without Words #23   A  > B  A  B  A 1.      1 - 6   Introduction 2.      7 – 15    A   (Parallel period) 3.      16 – 19   Interlude 4.      20 – 27 B; ends on VII 5.      28 – …

First Rondo I.        Names         3-Part Adagio         Full sectional ternary         Simple ternary         Compound ternary         Slow Movement Large Ternary         First Rondo (Schoenberg & Goetschius)   II.      Usually found in slow movements; …