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November 30, 2007
Final Exam: Practice Version
Here is the practice version of the exam. In addition to this portion, remember that you'll be expected to render a comprehensive analysis of one of these five songs:
• Penny Lane 767
• All My Lovin’ 28
• And I Love Her 44
• Got to Get You Into My Life 347
• I Wanna Hold Your Hand 565
You may bring with you the analysis summary I handed out in class, and which is available in the previous post.
Posted by berge at 8:40 AM | Comments (0)
November 28, 2007
Analysis Summary
The extended entry (click "Continue reading..." below) contains directions for your analysis. Please note that this post contains the corrections discussed in class. You may bring a copy of this outline to the final exam.
The analysis of your project and of the song for the final exam must include all of these elements. Please note that the use of “U” only applies to the latter. If you can’t identify it in your project, don’t use it!
Key
• The first item in a Roman-numeral analysis is as assertion of key, in the form of an upper- or lower-case letter, followed by a colon.
Roman-numeral analysis of every chord
• If the chord is diatonic in the key, no further analysis is needed.
• If the chord is not diatonic, in addition to the proper Roman-numeral designation, the chord music be circled and an additional designation added. Use these abbreviations:
o SD (Secondary Dominant): V/V or V/ii, etc
o B (Borrowed Chord): iv, bVI, etc
o LP (Line Progression): The chord is generated by a stepwise-moving line. In the case of an LP, do not circle the entire chord symbol, but rather that component of the chord that produces the line.
o UH (Unidentified Harmony): Should you find a non-diatonic chord that doesn’t fit any of the three above descriptions, give it a Roman-numeral designation, circle it, and label it “U.”
Cadences
• Indicate with brackets or a box the cadence at the end of every section – that is, the arrival of the last chord with the completion of the melodic phrase and the chord that precedes it. Use these abbreviations:
o PAC (Perfect Authentic Cadence): V-I or V-i (NOT v-i). Both chords must be in root position, and the top voice (usually the melody) must end on the root of the I chord.
o IAC (Imperfect Authentic Cadence): V-I or V-i (NOT v-i). One or more of the requirements for a PAC is/are missing.
o PC (Plagal Cadence): IV-I or iv-i.
o HC (Half Cadence): X-V. “X” could be any chord. The V-chord could be V in the home key or a SD.
o UC (Unidentified Cadence): Does not fit any of the above definitions.
Non-Chord Tones
• Circle all notes in the melody and bass that are not members of the prevailing chord. Identify them using these abbreviations:
o P (Passing Tone): Approached by step. Resolved by step in the same direction.
o N (Neighbor Tone): Approached by step. Resolved by step in the opposite direction.
o UN (Unidentified Non-chord tone): Does not fit either of the above descriptions.
• Optional identification for extra credit:
o A (Appoggiatura): Approached by leap up. Resolved by step down. The NCT itself must be strong metrically with respect to the note of resolution.
o DN (Double Neighbor): Chord Tone-Upper Neighbor-Lower Neighbor-Chord Tone. The approach and resolution are both by step; the motion from UN to LN is a skip of a 3rd. The preparatory note (the CT before the first N) must be stronger metrically than the three succeeding notes (e.g.: The four notes comprising this complex on beats 1+2+ or 3+4+).
o DP (Double Passing Tone): Two adjacent NCTs moving stepwise filling the space between the 5th and root of a chord. For example: G-A-B-C or C-B-A-G against a C triad. Note that all motion is stepwise in the same direction. In this example, A-B (or B-A) is the DP. Same rhythmic requirement as for DN.
Harmonic Devices
• Identify types of harmonic motion as follows:
o [Arrow] Use an arrow to indicate root motion that goes forward through the circle of 5ths.
o LP (Line Progression): Circle the moving line that is driving the harmonic progression.
o SS (See-Saw): Use brackets […] to enclose a series of two chords rocking back and forth.
o [Large “T”] (Harmonic Cycle): Indicate the break points between harmonic cycles. These end/beginning points normally occur at ends/beginnings of phrases in the melody, but a single phrase or section may contain multiple harmonic cycles.
Posted by berge at 8:45 PM | Comments (0)
November 27, 2007
Project 1 Comments
As you work on Project 2, keep the following points in mind:
o Turn off “Enable Chord Playback.”
o Make bass lines less random
• Paperback Writer 762
• Got to Get You Into 347
• I Wanna Hold 565
o Smoother voice-leading in piano part
• Penny Lane
• Fool On the Hill 282
o Make sure chord symbol agrees with written notes
• Key signature
• Accidentals carrying across the measure
• Correct enharmonic spelling
o Only 7ths to use are V7 or 7ths derived form LPs
o Lowest note on a bass = E
o Slash chords: The means that note is actually in the bass
o Arpeggiated 2nd inversion must be metrically weak
o Avoid muddiness in low register
o Melodies must be singable
o +2 is too wide for NT
o Melody needs NCTs: Otherwise = arpeggios
o Label all non-chord tones
o 7th may be treated as a chord tone in melody, not bass
• If 7th=chord-tone in melody, it must resolve down
o Voice-leading: 3rd of V-chord moves up to resolution
o Show the actual line in the music as well as at the chord
o Keep consistent texture in piano (3 notes)
o Show the 3rd beat of the measure
o Insert name as composer and copyright holder
o Must have double-bar at end (set pref to not add measure)
o Write analysis between piano and bass part
o Turn in an analyzed copy
Posted by berge at 9:41 AM | Comments (0)
November 20, 2007
Final Project Description
Posted by berge at 1:05 AM | Comments (0)
Final Project
The first theory podcast is up and ready for download. In it, I begin to explain the Final Project. Click on the link above to download a copy of the Word doc describing the project.
Posted by berge at 12:49 AM | Comments (0)