iv
(iv+vi+i+iii is its root position)
When in the unit on form, read chapter four of John D. White's The Analysis of Music (or chapter five out of the newer text)
Adam Carse--The History of Orchestration
Only two research topics need to be summarized, and only one page for the summaries; this is more to be helpful in preparing for comps
I. Unit I--Genre
A. In the Baroque period the choir comes beneath everything except the conintuo; after that, the entire string family appears below the choir or solo
1. This was because the concertmaster directed the orchestral forces, and the choirmaster (often the composer) would cue from the keyboard
B. Instrumentation
1. Only in the Baroque
2. Woodwinds
a. Flutes
(1) Piccolo (auxiliary; Romantic)
(2) Flutes (2)
(3) Alto flute (Rom., 1)
b. Oboes
(1) Oboes (2)
(2) English Horn (Rom., 1)
(3) Eb Clarinet (Rom., 1)
c. Clarinets
(1) Bb Clarinets (2)
(2) Eb Alto Clarinet
(3) Bb Bass Clarinet
d. Bassoons
(1) Bassoons (2)
(2) Contra Bassoon
3. Brass
a. French Horns
(1) 2-4 in Classical periods, usually in different keys
(2) In Romantic period could be 4-8
b. Trumpets
(1) Trumpets (2); in Romantic, 3-4
c. Trombones (Romantic Period); 2-3
d. Tuba
4. Percussion
a. Very little in the Renaissance or Baroque
b. Timpani
c. Occasional triangle, snare, or cymbal in Classical period
d. In the Romantic period--the xylophone, marimba, various cymbals and gongs, etc.
5. Keyboard/Harp
6. Vocal (choral) or instrumental solo
7. Strings
a. Violin I
b. Violin II
c. Viola
d. Celli/Bass
(1) In Classical period, the celli and bass read from the same line but play an octave apart
(2) In Romantic and later the celli have their own line for possibility of countermelodies, etc.
C. Time Periods
1. Renaissance--1450-1600
a. Instrumentation
(1) Not organized by family
2. Baroque--1600-1750
3. Classical--1750-1825
4. Romantic--1825-1900
5. Modern--1900-1950
6. Post-Modern--1950-
II. Orchestration transpositions
A. Notes
1. Mozart favored woodwinds
2. Haydn favored brass
III. Unit II -- Harmony
A. Objectives
1. Chord tone vs. non-chord tone
a. Rate of harmonic rhythm
b. Dissonant or consonant
c. Consider:
(1) Duration
(2) Approach and resolution
(3) Intervals above the bass
2. Best Roman Numeral analysis that shows "function;" relationship of a chord to the chord which follows as they are used to define tonal centers
3. Percentages of functional root movements
B. The Augmented 6th Chord
1. Early on they were used to embellish the dominant, but starting in the Romantic period they were used to embellish all kinds of chords, especially at key changes
2. Types of Aug. 6ths
a.
German
6th (Ger6)-- vi + i + iii+iv
(iv+vi+i+iii is its root position)
(1) Spelled like D--F#--A--B
(C
)
(2) The third of the enharmonic 7 chord should be the tonic; or, the enharmonic 7 chord is M3 below tonic (D for F#)
(3) The +6 expands outward to the dominant; the inner voices carry across
(4) Usually resolves as such: Ger6 -- i64 -- V -- i
(5) Any V7 has the potential of being used as a Ger6 by simply respelling the 7th
(6) Built on IV
b. Italian 6th (It6)-- ii
(1) Same as a Ger6, but omit the
"spelling 7th"
(eg. D--F--B
(C)
(2) Leave out the aural 5th (the A), double the aural 3rd
(3) When spelled right will resemble a diminished triad
(4) Also built on #IV
c. French 6th (Fr6)
(1) Same as Ger6, but lower the "spelling 5th" (D--F#--G#--B#)
(2) Built on 2nd scale
degree of key (II)
IV. Unit III--Form
A. Types of forms--simple and complex (or compound)
1. Multi-movement works--highest level
a. Highest level--symphony, consisting of several movements of various forms (symphony--the name of the multi-movement form for orchestra)
(1) Movement 1--fast; perhaps sonata allegro or sonata rondo
(2) Movement 2--slower; perhaps theme and variations (chaconne or passacaglia); either a first or second rondo (first is a 3-part rondo, second is a 5-part, third is a 7-part)
(3) Movement 3--minuet in trio, compound/complex ternary form; moderate tempo early on, but Beethoven uses scherzo (1 beat per bar) rather than dance tempo
(4) Movement 4--fast, sonata allegro or third sonata rondo
b. Lower levels--individual pieces
B. Complex forms--consist of more than one simple form (form within a form)
1. Binary form
a. 2 discreet parts of the piece
b. ab form; a is repeated, then b is repeated
c. Tonally open; a modulates from tonic to dominant, b modulates from dominant to tonic
d. b section is usually derived from a, melodically speaking; the difference is in the key
2. Rounded binary form
a. aba form (actually aababa)
b. Still harmonically open (I-V, V-I)
c. Only difference from binary is the return of a in the second section
d. When a returns, some or all of a may be used
e. Modulations and presence of repeat signs
3. Ternary form-3 discreet parts
a. aba form; a in I-I, b is in V-V and stays there; a is I-I
b. b is usually different from a rather than derived from it
4. Sonata allegro--a grown-up (complex) rounded-binary form
a. Key scheme: a, I-V (repeat); ba, V-I (repeat)
b. Form: exposition (which repeats), development, recapitulation
(1) Exposition is tonally open--it should open in tonic and modulate to another key (early and commonly, tonic-dominant; later, tonic-something else, usually thirds)
(a) Two themes: first theme group (or a), any number of themes allowed, and all in the same key
(b) Transition--changes tonality from tonic to dominant (or next them group's tonality)
(c) Second theme group, again with any number of themes, but the last one is called the closing theme; may also have a codetta (a repetitive figure at the end of the closing theme); right before the key sign, there may be a retransition back to I
(2) Development is tonally unstable, but usually ends on prolongation of dominant, or retransition
(a) Tonal centers are instable, frequently changing
(b) May find fragments of first or second themes or transition, as well as such compositional tools as...
(i) Augmentation
(ii) Sequence
(iii) Diminution
(iv) Imitation (repetition of a fragment in different voices)
(v) Stretto
(vi) Melodic inversion
(vii) Invertible counterpoint (or textural inversion)
(viii) Intervallic expansion/contraction
(ix) Completely new material
(c) Development ends with a tonal settling on the dominant, then finally lands on I
(3) Recapitulation
(a) First theme group--tonic
(b) Second theme group--also in tonic
(c) Transition between the two may sound like it's changing keys, but doesn't
(d) May have closing theme and codetta (or even coda)
(4) If comparable sections are not in proportion, the "out-of-balance" material is what's worth commenting on
c. A sonatina is different from a sonata in that:
(1) The sonatina is much shorter
(2) Development in sonatina is very brief
5. Smaller to larger:
a. Figure/motive + figure/motive = theme
b. Theme + theme(s) = phrase
c. Phrase + phrase = period
d. Period + period = double-period
C. Rondo
1. First part rondo--A(I)-B(V)-A(I)
2. Second part--A(I)-B(V)-A(I)-B(V)-A(I) or A(I)-B(V)-A(I)-C(V)-A(I)
3. Third part (Sonata rondo)--A(I)-B(V)-A(I)-C(V)-A(I)-B(I)-A(I)
a. Similar to sonata allegro in that first s.r. ABA is analogous to first s.a. A; C is like s.a. B; and final s.r. ABA is like s.a. A
b. Different in that we finish first ABA in tonic, not dominant; s.r. C is still tonally unstable
4. Turek, p. 192: Haydn Piano Sonata H. XVI:37, Finale
a. A--measures 1-20 are a rounded binary in D Major
(1) a--measures 1-8
(2) b--measures 9-12
(3) a--measures 13-20
b. B--measures 21-40 in d minor
(1) c--measures 21-28 in d minor to F major (tonally open)
(2) d--measures 29-34
(3) c'--measures 34-40
c. A--measures 41-60; exactly like first A
d. C--measures 61-80
(1) e--measures 61-68
(2) f--measures 69-72
(3) e--measures 73-80
e. Retransition, measures 81-93
f. A'--measures 94-134
(1) a'--measures 94-101
(2) a''--measures 102-109
(3) b'--measures 110-114
(4) a'''--measures 115-121
(5) a''''--measures 121-133
(6) Final extended cadence--measure 134
V. Unit V--Melody
A. Practices by Period
1. Baroque
a. Tended to be vocal
(1) Conjunct melodies
(2) Leaps w/steps in opposite direction
(3) Limited range (12ths)
b. Melismatic
c. Use of ornaments
d. Motivically conceived and developed
2. Classical
a. Melismatic (especially in opera)
b. Idiomatic writing for instruments (no longer derive their parts from the voice)
c. Structure is more clearly defined
d. Phrases are symmetrical
e. Melody + accompaniment
f. Melody conceived chordaly
3. Romantic
a. Chromatic
b. Wide angular leaps--composers tended to write with strings in mind
c. Disjunct motion
d. Melody independent of harmony
e. Programmatic
f. Irregular resolution of active scale degrees or altered tones
g. Not rhythmically bound by barline in terms of accent
h. Phrases are asymmetrical
i. Thematic transformation
j. Melody carried in inside voices
k. Multiple melodies
l. Where exactly is the melody and what is it?
B. Analysis Practices
1. Determine the characteristics (or even location) melody
2. Identify the genre
3. Look for wide, angular leaps
4. See if the melody is really independent of harmony