Page 1 Masters Music Theory Competency Exam Part Writing and Analysis I. PART WRITING In the key o G major and a 4/4 meter, notate the ollowing chord progression in our-voice chorale style (soprano and alto in the treble cle; tenor and bass in the bass cle): I V6/5 I ii6 V6/5 o V Cadential 6/4 V I Additional guidelines: 1. The inal I chord should arrive on the downbeat o a measure. 2. The choice o durations and the total number o measures is up to you. Drat Final Version
II. ANALYSIS PIECE A Piano Sonata, Haydn Hob. XVI, 40-II Page 2 You have been provided with a score o a piece or piano rom the Classic period (see Piece A). Answer the ollowing questions with reerence to this score. A recording o the piece will be played or you two times. 1. The piece consists o three large ormal sections, each o which includes one or several distinctive key areas. In the table below, provide the ollowing inormation or each section: In which measure does the section begin? What is the key and Roman numeral o the irst chord? In which measure does the section end? What is the key and Roman numeral o the last chord? Beginning Key and Roman Ending Key and Roman measure numeral o irst measure numeral o last number chord number chord Section 1 Section 2 Section
Page Form 2. Consider the tonal and thematic relationships between the dierent sections o the piece. In your opinion, which o the ollowing schemes relects the piece s overall orm most adequately? Briely explain your answer. A B C A A A A B A A B A Sonata Form Explanation:
Harmony Page 4. The piece contains our distinct cadences. In the table below, provide the ollowing inormation or each cadence: In which measure does the cadence arrive? In what key is it? What type o cadence is it? (Perect Authentic Cadence, Imperect Authentic Cadence, Hal Cadence?) Measure number Key Cadence type Cadence 1 Cadence 2 Cadence Cadence 4 4. Provide a complete harmonic analysis o the passage shown below (measures 11-18).
Page 5 Phrase Structure Speciy the key at the beginning o the passage. Label all chords with Roman numerals, inversion igures, or special symbols (such as N 6, Fr. +6, etc.) as appropriate. For any modulation, speciy the new key and show a pivot chord. 5. a) The piece includes several melodic/harmonic phrases. Identiy two phrases at the beginning o the piece that together orm a period. In the space below, speciy the beginning and ending measure numbers or each phrase o this period. First phrase ( antecedent ): Second phrase ( consequent ): b) The second phrase o the period mentioned above involves a phrase extension. In which measure does the phrase extension begin? What is the harmonic unction o this extension? How does the bass voice contribute to it?
I ANTON WEBERN, op. 24 Etwas lebhat Flute Oboe Clarinet * Horn * 1 b œ bœ n œ rit. # œ n- œ # œ - - p a tempo 5 rit. a tempo bœ # œ bœ rit. ƒ #œ Trumpet * Trombone Violin Viola Piano? 4 2 B 4 2? 4 2 con sord. * Sounds as notated # œ & # œ n œ J b n œ Jœ J bœ J n œ. n œ. p # œ # œ. pizz. n œ. b œ. n œ. pizz. n œ. # œ. n œ. ƒ bœ #œ # œ - bœ n- œ -
III. ANALYSIS PIECE B Page 7 You have been provided with a score excerpt o an orchestral piece rom the twentieth century (see Piece B). Answer the ollowing questions with reerence to this score. A recording o the excerpt will be played or you two times. Texture 1. The musical texture o Piece B may be described as a mosaic-like combination o various short three-note igures. While these three-note igures are all quite similar, they are presented in such a way that the listener can easily distinguish them rom each other. Consider measures 1- o the score. a) Name two musical actors that help a listener to recognize the similarities between the three-note igures. b) How are the three-note igures in this passage set apart rom each other? Name three musical actors that help a listener to hear each three-note igure as an individual unit within the overall texture.
Page 8 a) b) Melodic Motives 2. The musical example below shows eight three-note igures occurring in measures 4-7. They will be reerred to as motives A-H in this question. Compare the above motives A-H, paying careul attention to their melodic structures and shapes.
Page 9 a) Which motives are exact transpositions o each other? (List each pair o motives that are related in this way. One possible answer is provided below.) B and F b) Which motives are melodic inversions o each other? c) Which motives are melodic retrogrades o each other? d) Which motives are melodic retrograde-inversions o each other? Rhythm. Compare the overall rhythm o measures 1- with the overall rhythm o measures 4-5. Explain the rhythmic development in measure 4-5. Twelve-Tone Series 4. The pitch structure o Piece B is governed by a twelve-tone series. This twelve-tone series is used in our dierent orms (prime orm, inversion, retrograde, retrograde inversion) as well as in dierent transpositions. The prime orm o the series is stated in measures 1-. It consists o the ollowing succession o pitches: Prime orm (mm. 1-): B - Bb - D - Eb - G - F# - G# - E - F - C - C# - A
This initial statement o the series is ollowed, in measures 4-8, by three more statements. For each series statement in measures 4-8, provide the ollowing inormation: Page 10 Spell out the succession o pitches that constitutes the series. (The irst and last pitches are given below.) Identiy the orm o the series, choosing rom the ollowing options: prime orm, inversion, retrograde, or retrograde-inversion. (You do not need to to speciy the transposition level.) a) Measures 4-5, piano Succession o pitches: D C Form o series: Example a b) Measures 6-7 (beat 1); clarinet, viola, violin, oboe Succession o pitches: C# B Form o series:
Page 11 Example b c) Measures 7 (beat 2) 8; piano, lute, trumpet Succession o pitches: C Bb Form o series:
Example c Page 12