Homework answers / question archive / Analytical Techniques 2 Final Exam study guide Important concepts and people • Modulation • Finding the cadence • Key relationships • Enharmonically equivalent keys • Parallel keys • Relative keys • Closely related keys • Distant keys • Chromatic mediant keys • Pivot chords analysis • List all possible pivot chords between two keys • Ideally diatonic in both keys • Bracket notation • Motive • Phrase analysis • Curvy lines • Column notation • Key information/ modulation • Cadences • Measure numbers • Little letters for phrase indications • Period analysis •Antecedent/Consequent • Melodic structure • Parallel • Contrasting • Harmonic structure • Interrupted • Continuous • Sectional • Progressive • Sentence • Phrase groups • Asymmetrical period • Double period • Binary form • Continuous vs

Analytical Techniques 2 Final Exam study guide Important concepts and people • Modulation • Finding the cadence • Key relationships • Enharmonically equivalent keys • Parallel keys • Relative keys • Closely related keys • Distant keys • Chromatic mediant keys • Pivot chords analysis • List all possible pivot chords between two keys • Ideally diatonic in both keys • Bracket notation • Motive • Phrase analysis • Curvy lines • Column notation • Key information/ modulation • Cadences • Measure numbers • Little letters for phrase indications • Period analysis •Antecedent/Consequent • Melodic structure • Parallel • Contrasting • Harmonic structure • Interrupted • Continuous • Sectional • Progressive • Sentence • Phrase groups • Asymmetrical period • Double period • Binary form • Continuous vs

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Analytical Techniques 2 Final Exam study guide Important concepts and people • Modulation • Finding the cadence • Key relationships • Enharmonically equivalent keys • Parallel keys • Relative keys • Closely related keys • Distant keys • Chromatic mediant keys • Pivot chords analysis • List all possible pivot chords between two keys • Ideally diatonic in both keys • Bracket notation • Motive • Phrase analysis • Curvy lines • Column notation • Key information/ modulation • Cadences • Measure numbers • Little letters for phrase indications • Period analysis •Antecedent/Consequent • Melodic structure • Parallel • Contrasting • Harmonic structure • Interrupted • Continuous • Sectional • Progressive • Sentence • Phrase groups • Asymmetrical period • Double period • Binary form • Continuous vs. Sectional • Simple vs. Rounded vs. Balanced • Leading edge • Trailing edge • Coda • Ternary form • Full sectional vs. sectional vs. continuous • Transition/Retransition • Rounded binary vs. ternary • B section digression or distinct section? • Strength of section boundaries • Thematic • Harmonic • Typically tonally closed sections • Compound Ternary • Hierarchical form layout • Da capo form • 5-part/7-part Rondo • Compound Ternary/Rondo • Sonata form • Hepokoski and Darcy • Sonata principle • Thematic material heard off-tonic in Exposition returns in tonic in Recapitulation • Slow introduction • Exposition •P • TR • MC •S • EEC •C • Development • Retransition • Recapitulation •P • TR • MC •S • ESC •C • Coda • Sonata Rondo form • Conflict at A2 Recap: S •Lieder • Music/text relationship • Strophic vs. throughcomposed • Interpretational strategies • Text • Musical setting • Tonal/formal plan • Harmonic details • Beethoven • Schubert • Die Schöne Müllerin • Winterreise • Robert & Clara Schumann • Dichterliebe • Felix & Fanny Mendelssohn • Chopin • Preludes • Liszt • Brahms • Wagner • Mahler • Debussy • Preludes • Bartok • Bagatelles • Skryabin • Schoenberg • Berg & Webern • Impressionism • Expressionism • Post-tonal centricity • Diatonic, but not tonal • Modes • Quartal/Quintal harmonies • Pentatonic scales • Whole-tone scales • Octatonic scales • Planing • Atonality • Octave/enharmonic equivalence • Pitch vs. pitch-class • Integer notation • Mod 12 arithmetic • Intervals • Pitch intervals • Pitch-class intervals • Interval class • Pitch-class set theory • Transpositions of sets • Inversions of sets • Interval-class vector • Normal form • Set class/prime form • Analysis of freely atonal music • Segmentaion • Find/circle sets • Put in prime form Analytical Techniques 2 Name________________________________________ Final Exam, Spring 2020: Tuesday, May 5 Part I: Beethoven piano sonata phrase analysis. 1. (2 pts) The best descriptive label for the formal structure of this excerpt is: a) Period b) Sentence c) Double period d) Unrelated phrases 2. (5 pts.) Diagram the two-phrase structure in column format using little letters for phrases, a key, measure numbers, brackets on the side phrase groupings, and identifying all cadences. Phrase grouping Phrase letter Key Cadence Measures 3. (2 pts.) The very specific label that identifies this structure is: 4. (3 pts). This excerpt includes two secondary dominants. Find and provide a Roman numeral for the first secondary dominant in this excerpt. 5. (3 pts) Find and provide a Roman numeral for the second secondary dominant in this excerpt. Page 1 of 9 Part 2: Song analysis. The following excerpt, mm. 30-37 of Schubert’s song “Gefror’ne Thränen,” from Winterreise, modulates by use of a pivot chord that is enharmonically reinterpreted. Questions 6-18. (16 pts.) Analyze the following excerpt by providing the starting key and the second key and one Roman numeral per blank. Analyze each blank only once in the key it operates in. So, after the modulation you’ll analyze the chords in the new key. One of the chords will be a pivot chord in two keys at once, but for this chord analyze it only in the original key (not the modulated to key) the first time. Later questions will ask you to identify which chord it is and provide the other analysis. Online question numbers are identified in the blanks. key: ____ 6 ____________ _____ __________________ 7 8 9 ______________________ ____________________ 13 17. (1 pt.) What is the new key? _________ 14 _____________ _____ ____________________ 10 11 12 _____________________ ___________ 15 16 18. (1 pt.) Which blank is the pivot chord? ______ 19. (1 pt.) What is the best Roman numeral for the pivot chord in the new key? _____________ 20. (2 pts.): The home key of the whole song (not the home key of the excerpt) is F minor. What is the specific name of the relationship between the key at the end of this excerpt and the home key (F minor)? _____________________________________ Page 2 of 9 21. (8 pts.): The text translation for the song is given below. The final stanza (in bold) is the excerpt you analyzed for questions 6-20. Provide an interpretation for how the musical and harmonic/tonal choices that Schubert made for this third stanza bring out the meaning of the text. Make sure to discuss the poetic meaning of the modulation in the excerpt both in reference to mode and key relationship with the home key. Discuss at least one other area of text painting. Frozen drops are falling down from my cheeks: have I failed noticing that I have wept? Well tears, my tears are you really so very lukewarm that you freeze and become ice like cool morning dew? Yet you come out of the spring of the breast so blazing hot as if you wanted to melt away the entire winter’s ice Part III: The following is the score to a Chopin piano piece. 6 12 17 Page 3 of 9 23 .. 29 ' * I I .:::::,. ! @. I c-: ! l I !- ' lt 1- ilr -: : . I 1 "J 11-....... ' - I - • ;:::,.. 35 I ' ---- I ,I I .. /" - I I L ' '-' • "" fi: . ..... - ...b ..=_,..• , ... -- f t _._ ... J 11 r *