TENTAMEN ANALYSIS October 31, 2013

(MH)

Name: _____________________________________________

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1. Beethoven: String Quartet Op. 18 No. 4, first movement, first theme

The first theme covers the first thirteen bars of the piece, a rather 'irregular' number of bars at first sight.

a.At only two spots we hear a close. Where? Label these closes as PAC, IAC, HC, DC or PC.

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b.Show how the theme can be divided (briefly describe the theme, and produce a scheme). Which measures can be considered as extension(s), and why?

c.Is this theme a sentence or a period? Why?

d.In the beginning of the theme a pedal point is used. How do we know that the sustained C in the cello part is indeed a pedal point, and not just..well.. a sustained note?

e.In the first four measures of the theme we see a sequence. Is this

– a melodic sequence– a harmonic sequence, or– a harmonic/melodic sequence?

f.

– When we call these first two measures the first motif of the piece, would you call this motif female or male?

– When you look at the motives in the rest of the theme, most of them are similar: they are either female or male as well. There is one exception though; where? Can you think of a reason why this exception is made?

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2. Bach, beginning of a Praeludium from the Wohltemperiertes Klavier

a. What is the home key of this piece?

b. In some places (in measures 1-7 and 12-16) I put arrows in the score: Every arrow indicates an embellishment (passing tone, upper or lower neighbour, suspension (prepared or unprepared) or anticipation)Indicate at every arrow which embellishment is used. You may use abbreviations, like p, un, ln, ps, us, a.

c. I put brackets in the score at four closes: Make a harmonic analysis of these spots (using Roman scale degrees); describe also- in which keys the cadences take place, and- which type of cadence is used (PAC, IAC, HC etc. ).

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3. Terminology

Provide a short explanation at questions a. through e.:

a. What is the difference between a (scale) degree and a function?

b. Explain the difference between imitation and sequence.

c. What is meant by: diatonic modulation? Is there a pivot chord in such modulations?

d. What is meant by: compound parallel period?

e. Why is it that a small-scale form like this:

4 + 4

4 + 4

Sometimes is heard as binary, and sometimes as ternary?

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4. Mozart, slow (second) movement of the Violin Sonata in Bb major K 454

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a.Is this movement a large-scale binary or large-scale ternary? Why?

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b.Mark (in the score) the various sections of the form, using the labelling system of binaries/ternaries. (This means: use the capital letters A and B, and the terms transition, retransition and, when applicable: coda.)

c.Is the first theme / A section a sentence or a period?

– When it is a period, can you describe it more specifically (using terms like compound, contrasting etc..)

– When it is a sentence, can you specify whether it is a sentence-by-repetition or a rather a sentence of the developing type?

d.Make a harmonic analysis ntil the first beat of measure 21 (in the score, using Roman scale degrees). There are no modulations in this section!

e.Which keys do you hear between measures 44 and 73? Write them in the score.

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