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ANALYSIS WORKSHEETS
Advanced Music Theory, MUS 724, Prof. Burstein
(1) Print the following pages on single-sided sheets ( not back-to-back), 8 ½ x 11 paper, with three-hole punch, and organize the sheets in a three-ring binder.
(2) Some of these sheets will be completed in class, some will be assigned for homework. These assignments will not necessarily be done in order, and not every one of these sheets will necessarily be completed during semester. Also, some additional analyses not included in these sheets might be assigned during the semester. Upcoming analysis assignments will be announced during each class.
(3) Do not hand in the analysis assignments unless asked to do so. Most assignments will be discussed in class but not collected.
(4) The number of the corresponding analysis piece in the workbook is given for each of these assignments. Though some of the pieces in the workbook are a bit hard to read, most are sufficiently legible for the purposes of the class. If you are straining to read the analysis pieces in the workbook, you should buy an inexpensive magnifying ruler from a stationery store or get a large copy of the piece from the library.
Analysis I
Phrase endings and cadences : On the music itself, note the bar in which there are phrase endings in pieces #1-10. Label the cadences at the phrase endings as either HC, PAC, or IAC, and label the key each cadence is in. Also, be prepared to discuss if the cadence is clear or somehow obscured , and also be prepared to note the presence of a phrase anacrusis (that is, a measure or group of measures that serve as a lead in).
Analysis II
(a) Antecedent-Consequent Periods: In which measures of the following pieces does one find an antecedent? a consequent? Which include examples of of phrase expansion or interpolation (if any)?
I Chopin Prelude in A Major, Op. 28 (#1): Antecedent_______ Consequent_________ Expansions or interpolations?______
II Chopin Prelude in E Minor, Op. 28 (#2): Antecedent_______ Consequent_________ Expansions or interpolations?______
III Chopin Prelude in D Major, Op. 28 (#3) Antecedent_______ Consequent_________ Expansions or interpolations?______ In this piece, what is the chord found in bars 1-4?______ What keys are tonicized in the following measures? 1-5:_____ 6-8:______ 8-10:____ 10-12: _____ 12- 17:_______ What type of sequence does this create?__________________
IV Chopin Prelude in B Minor, Op. 28 (#4): Antecedent_______ Consequent_________ Expansions or interpolations?______
(b) Sentences and Antecedent-Consequent Periods
Which of the following excerpts form a of a sentence structure? Which form an antecedent-consequent period? Are they classic examples of these structures, or only loosely related to these structures? Check the appropriate blanks.
(I) Mozart, Menuetto and Trio, K. 1 (#5)
Bars 1-8: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
Bars 11-20: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
(II) Mozart, Menuetto and Trio, K. 2 (#6) (III) Mozart, Menuetto and Trio, K. 4 (#7) Bars 1-8: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
Bars 1-10: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
(IV) Schubert, Minuet in F Major (#10) (V) Beethoven, Op. 2, No. 3, Trio (#12) Bars 1-8: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
Bars 1-8: Antecedent-consequent______ classic example___ Sentence structure? ______ possible example____ None of the above _______
Analysis IV
Binary form and Ternary Form
Which of the following pieces in binary form, ternary form, or neither? If they are in binary form, are they (1) symmetrical or asymmetrical; (2) simple, balanced, or rounded; (3) sectional or continuous? Check the blanks that apply.
I Chopin, Prelude in A Major, Op. 28 (#1)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
III Mozart, Menuetto and Trio, K. 1 (#5) The Minuetto:
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
The Trio:
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
The Entire Movement:
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
III Mozart, Menuetto, K. 2 (#6)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
IV Mozart, Menuetto, K. 4 (#7)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
(continued on next page)
Analysis IV (continued)
V Schubert, Waltz in F Major (#10)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
VI Schumann, Folk Song (#16)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
VII Schumann, Melody (#17)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
VII Mendelssohn, Op. 19, No. 6 (#18)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
IX Mendelssohn, Op. 19, No. 3 (#19)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
X Schumann, Trallerliedchen (#21)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
XI Chopin, Prelude in G Major, Op. 28 (#8, p. 4)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
XII Schumann, Soldier’s March (#11)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
XIV Beethoven, Op. 2, No. 3 (#12)
binary form________ ternary form_________ neither________ asymmetrical___ symmetrical____ simple____ balanced____ rounded___ continuous____ sectional____
Analysis VI
(a) J..S. Bach Praeamblum in C Major (for W.F. Bach) (#24)
Continue a reduction of bars 1-8 of this piece into four-part harmony, one note in the bass, three notes in the right hand; use smooth voice leading throughout.
(b) J.S. Bach, Applicatio in C Major (for W.F. Bach) (#23)
In the chart belwo, analyze the Roman numerals for this piece, using only one or two Roman numerals per bar (with the except of the last measure, which requires three Roman numerals).
Bar 1 2 3 4 :||
||: 5 6 7 8 :||
Analysis VII
Beethoven, Sonata for Piano Op. 14, No. 1, II (#55)
(1) On the music itself, label the cadences throughout the movement.
(2) What is the form of the Allegro section?___________________
(3) What is the form of bars 1-16?_______________ What is the key of this
passage?______
(4) What is the form of bars 17-24?_______________ What is the key of this
passage?______
(5) What is the form of bars 32-50? ________ What is the key of this passage?______
(6) What is the passage of bars 50ff.?___________________
(7) Where does one find an example of phrase extension within the Allegro
section?________ Where does one find an example of phrase overlap within the Allegro section?________
(8) What is the form of the Trio section?____________
(9) What is the form of bars 64-78?______________________
(10) Consider the key structure of Trio section. What other piece(s) included in the class
handouts has a similar key structure?____________________________
(11) In what bar can one find an augmented sixth chord?_________
a diminished seventh chord?_____________. (12) What is the logic of the chord succession in bars 18-19?___________
(13) What is the form of the entire movement?_____________
(14) On the music itself, label the chords of bars 1-8 (NB: analyzing bar 4 might be a bit tricky).
(15) Be prepared to discuss the use of “hidden” motives within this movement.
Analysis IX J.S. Bach, Minuet from French Suite in B Minor (#22) (a) What is the form of the phrase in bars 1-8 of the Menuet?_____________ (b) What is the form of the phrase in bars 16?_____________
(c) Is the Minuet in binary form?_______ Is it symmetrical or asymmetrical?____________ Is it rounded, balanced, or simple?______________ Is it sectional or continuous?____________ (d) There are two big cadences in the second part of the Menuet. Indicate the bar numbers, key, and type of these cadences: (i)_____________________ (ii)________________
(e) What is the form of the Trio?____________________What is the form of the entire Menuet and Trio movement? __________________ (f) What is the form of the preceding Sarabande movement?________________________
(g) Reduce the voice-leading of bars 1 to the downbeat of bar 8 to a simplified four-part harmonysetting; use one note in the bass and three notes on top. Keep the bass more or less as it is the beginning is done for you), but make sure the upper voices are smooth but with proper voice-leading (NB: bars 7-8 are a bit difficult):
Analysis X
Simple Rondo Form
Listen to and analyze Beethoven, Op. 13 (“Pathetique”), II (#34). This piece is in an ABACA rondo form. List the bar numbers and key(s) of each section, then answer the questions below:
A: _________________________
B: _________________________
A’: _________________________
C: _________________________
A’’: _________________________
--How is the A’ section different from the first A section?
--How is the A” section different from the first two A sections?
--Label the Roman numerals in bars 1-8 (1 or 2 chords per bar, except bar 3, which has 4 chords) in the boxes below:
bar 1 2 3 4 5 6 7 8
--Label the Roman numerals in bars 17-28 (1 or 2 chords per bar) in the boxes below:
bar 17 18 19 20 21 22 23 24 25 26 27 28
--On the staff below, finish reducing the chord progression of bars 40-50 to a smooth progression in good 4-part keyboard harmony, one chord per bass tone.
--Be prepared to discuss what chromatic motives (perhaps involving enharmonics) play a crucial role in this movement.
Analysis XII
Beethoven , Sonata for Piano in E Major, Op. 14, No. I (#56)
EXPOSITION: bars:__________
1 st^ GROUP: bars:________ 1 st^ theme: bars:___________ key:_________ transition: bar s: ___________ ♦ does the transition have the same theme as the opening of the first group, or does it introduce a new theme? _______________ ♦ is there a modulation within the transition? ________ if so, at what measure does it start? ____________ ♦ is the final chord of the transition preceded by an applied dominant, by an augmented sixth chord, or neither? _________ ♦ is the final chord of the transition given an extended prolongation?________ Does the transition end with “hammer strokes”? _________
2 nd^ GROUP key of second group: __________ 2 nd^ theme: bar #s: __________ closing section: bar #s__________ codetta: bar #s___________
DEVELOPMENT bar #s________ 1 st^ phrase: bars_________ 2 nd^ phrase: bar s________ this phrase starts in what key?________it ends in what key?___________ 3 rd^ phrase: bar #s:__________ ends in what key?___________
RECAPITULATION: bars:_______ 1 st^ GROUP: 1 st^ theme: bars_______ key:________ transition: bars________ key:__________ 2 nd^ GROUP key:_________ bars”__________
CODA Does this movement have a coda? _______ if so, what bars?_________
Analysis Worksheets
Analysis XIII
a) Haydn, Symphony No. 72, IV (#20)
Reduce the voice leading of bars 1- -part harmony setting; fficult to read, a clear version of these bars are provided below.)
(b) Schubert, Waltz in B Minor (#9)
-part harmony setting;
Name____________________________________
Analysis XV
Robert Schumann’s setting of Rückert’s “Jasminenstrauch” Op. 27/
(NB: this song is the basis of Project I (1) Analyze this poem of Rückert’s; make sure to indicate its rhyme scheme and
impact of poetic structure on the meaning of the poem
his poem. Using the chart on the bottom of this page, label its phrases, keys, and cadences; also label its chords with Roman
text.
Grün is der Jasminenstrauch Green is the jasmine tree
Abends eingeschlafen. Falling asleep at night.
Als ihn mit des Morgens Hauch As it with the dawn’s breath
Sonnenlichter trafen, Meets the sunlight
ist er schneewiess aufgewacht: It awakens snow-white:
“Wie geschah’ mir in der Nacht?” “What has happened to me in the Night?”
Seht, so geht es Bäumen, So it goes with trees
die im Frühling träumen. That dream in Spring.
bar numbers of song:
Analysis XVI
Analysis of Felix Mendelssohn, “Song Without Words,” Op. 102/6 (#35)
(1) Chart the form of this piece, indicating its phrases, cadences, keys, and sections of the design:
bar 1 2 3 4 5 6 7 8
9 10 11 12 13 14 15 16 17 18
19 20 21 22 23 24 25 26 27 27
29 30 31 32 33
(2) What form is this piece in?_____________
(3) In certain specific ways, Mendelssohn creates an ambiguous effect sin this piece. Which keys and cadences are somehow obscurred in this piece?
(4) What is the chord progression of bars 7-8? On the staves below, write this progression using smooth voice-leading in the upper voices.
(5) Where is there an augmented sixth chord in this piece? ____________Where is there a pedal point?_________________
(6) In bar 3, there is a chord succession that on the surface seems unusual. Be prepared to describe the logic underlying this chord succession?
Analysis XIX
Analysis of Beethoven, Op. 10, No. 3
Chart the sonata form of the first movement. section bar numbers key(s)
EXPOSITION
1 st^ theme group
bridge section
2 nd^ theme group
2 nd^ theme
closing section
codetta
DEVELOPMENT
1 st^ section 124-
2 nd^ section 133ff. 149ff. 157ff. 161ff.
3 rd^ section 167ff.
RECAPITULATION
1 st^ theme group
2 nd^ theme group
CODA
(1) Are there any motivic connections between the first and second theme groups?
(2) What type of sequence is there is bars 133ff.?
