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; …

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 – …

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 …

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 …

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 …

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 …

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 …

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 …

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 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 …

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 …

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 …

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 …

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 …

Motives Click on an example for playback …

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 …

Aldwell-Schachter Chapter 31 Click on a musical example for playback   natural-VII in major. The preparation has been achieved with the introduction of C-natural. In dealing with these chords the power of suggestion is as important as good voice-leading. …

Aldwell-Schachter Chapter 30 Click on a musical example for playback   Genesis of an augmented sixth chord. Step 1: start with a iv6 in minor, moving to V.      Step 2: the sixth of the iv6 moves chromatically upwards as a passing tone.      Step 3: the …

Aldwell-Schachter Chapter 29 Click on a musical example for playback   A plain example of the Phrygian II6, also known as the Neapolitan sixth. Note the ^b2-^7 movement in the soprano, which is typical of the Phrygian II progression. It is generally best …

Aldwell-Schachter Chapter 28 Click on a musical example for playback   Starting out simply, we see here a V7 which has been decorated with an upper neighbor tone before resolving normally.      If we repeat the bass notes in the first measure, it’s easier …