Piano Sonata Hob
Benjamin, Horvit, Koozin & Nelson.Techniques and Materials of Music(optional book for reference)
On-line Study Manuals, links via Blackboarde-Workbook (Part 2, diatonic), Blackboarde-Workbook (Part 3, chromatic), Blackboard
Durrani.Part Publishing Basics, BlackboardDurrani.Form and Analysis Fundamentals, BlackboardDurrani.Little Binary and Ternary Illustrations, Blackboard
Hepokoski, Adam and Warren Darcy.Elements of Sonata Theory(e-book)
Ratner, Leonard.Classic Music: Expression, Contact form, and Style;Chs you & 2 (Blackboard )
Straus, Paul.Summary of Post-Tonal Theory, Chs 1 & 2 (Blackboard )
Jonathan CrossThe Stravinsky LegacyCh one particular, 2, and 5 (Block forms, Minimalism)
Jonathan M. Kramer. Concepts of Musical TimeIndiana Theory Review 17/2 (1996): 21-62.
Thanks, for your answer Ramako. You allowed me to a lot together with the form analysis of this primary theme. Therefore i agree with you entirely!
After the primary theme we certainly have a changeover which is ‘sentential’ (not a sentence in strict Caplian terms). There exists an idea in bars 12-14, a kind of duplication of the idea in bars 14-16 after which until the inside caesura after the half mesure in C we have a thing that looks like a continuation turns into cadential period.
After the move we have a secondary theme which is built such as a sentence:21-22 sama dengan basic thought23-24 = (almost) exact repetition of the fundamental idea25-29 (downbeat) = continuation becomes cadential phase. There exists an speeding in harmonic rhytm, although there is a deceptive cadens.I think my personal interpretation until m29 is quite correct. But the problems commence. How can I review the bars 29 – 39 (downbeat = Vital Exposition Closure)? Bars 39-46 are a brief c-zone i believe.
Do you agree with this imperfect analysis of the subordinate theme?
Last edited by Faell; Jan-10-2014 for 14: 45.
I don’t have looked at Caplin’s methodology in enough details recently, therefore i may be wrong, but I actually hear:
2 club basic ideaa couple of bar ‘contrasting’ idea stopping on an imperfect authentic mesure (this with the previous fundamental idea varieties the ‘antecedent’)a couple of bar replication of the original basic idea with varianceAfter that approximately a couple of bars extension, 2 bars cadence.
And so i largely agree with your presentation. The only difference is that We hear the repetition of the basic idea after the antecedent as significant: I say the continuation commences only in bar six after a diverse repetition of bars 1-2 in bars 5-6. Regarding classification, Perhaps my model lies half-way between a Hybrid and a chemical substance sentence, for that reason.
As for your analysis of the sonata type as a whole, I agree wholeheartedly get back.
Last modified by Ramako; Jan-07-2014 for 15: 33.
I agree with the interpretation. Only I would declare now after reading Ramako’s response and reading the chapter of compound designs in Caplin’s book it is a compound phrase with pressurized continuation. Thus instead of a almost eight measure continuation phase or continuation becomes cadential stage there is the normal 4 evaluate continuation (becomes cadential) stage as expected within a tight-knit word theme. Therefore my modified interpretation of the primary theme is:
m 1-4: cbim 5-8: cbi’m 9-12: continuation becomes cadential
Even though Caplin offers in his book only cases with a great repetition in another level degree which in turn doesn’t fit into this case. The repetition in the (slightly variated) cbi is on the same scale degree while the initially cbi in this instance. But this can be possible, in my viewpoint. My spouse and i interprete the repetition in the cbi as an (almost) exact duplication (more in harmonic terms) which is feasible for a repeating of the fundamental idea in a sentence. Will you agree with this kind of interpretation?
My spouse and i am as well curious how come you say that a cross is still an alternative.Ramako, thanks for answering my question.
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Week you:Aug 20-22
Essentials and diatonic harmony
To get close examine:Component Writing Principlesg. 1-9Reference:Techniques and Materials of MusicPart 1 and Component 2, Products 1-8TMM On-line Study Courses 1-4For close study: Expression structures:Form and Analysis Basics, p. 1-19Analysis:Small Binary and Ternary Examplesnos. 1-4To show in Thursday, Aug 22: e-Workbook (Part 2) physical exercises: p. 11, 19, 24To show in Tuesday, Aug twenty seven: e-Workbook (Part 2) physical exercises: p. 30, 34
Introduction to post-tonal theory
Study Straus Ch 1 and Research 1 .Listen to all pieces reviewed.Study the Webern Symphony, Op. twenty one, mvt 2, Thema. Pay attention to the work and follow evaluation instructions in Straus, g. 17.TMM On the web Study Guidebook 11 (chord symbols, methods, scales and other basics)
Week 2: August 27-29
Chords of cambio, other diatonic chords, variant qualities, binary and ternary forms
To choose in Thurs, Aug 30: e-Workbook (Part 2) exercises: p. 41, 51Complete Small Binary and Ternary Illustrations through number 8
Research Straus Ch 2 and Analysis 2 .Listen to all pieces discussed. For almost any set of three to four pitch classes, be able to determine normal kind, prime type, and time period vector.Score examination to turn in Tuesday, Sept 3: Schoenberg, Op. 10, No . youTechniques and Materials of MusicStudy Guidebook 12 (some basics of set theory and serialism)
Week 3: Sept 3-5
To turn in Thursday, September 5: e-Workbook (Part 3) exercises: g. 3 and 6Analysis: Complete Small Binary and Ternary Examples through no . doze
Tactics and Supplies of MusicAnalyze Guide 11 (chord symbols, modes, scales and other basics)Techniques and Materials of MusicStudy Guidebook 12 (some basics of set theory and serialism)Report analysis: Debussy, selected preludesCredit score analysis: DebussyParsacree(Turn in Tuesday, Sept. 10)
Week some: September 10-12
e-Workbook (Part 3) exercises to turn in Thurs, Sept doze: p. twelve and 10Tiny Binary and Ternary Good examples as given
Score to get study: Messiaen, prelude: La colombeScore for study: Messiaens i9000election fromQuatuor put la b du temperature ranges
Week five: September 17-19
Sonata form research, topic theory, 18th-century repertoire
ResearchForm and Research Basicsp. 30-42 (Blackboard)Study Hepokoski and Darcy e-book, chs. 1-3Score analysis: Beethoven, Keyboard Sonata No . 1 in F minor, Op. 2, No . 1 ) Study 1st movement in depth. Listen and follow the credit score on most movements. Naxos(all Beethoven keyboard solo works)Score examination: Mozart, Keyboard Sonata in B toned major, E. 333. Examine first motion in detail. Listen and stick to the score about all moves. Naxos(several Mozart piano sonatas)
Serialism: Study AntokoletzTwentieth-Century Music, Ch a few (Blackboard )Results for analyze: Webern selections, Schoenberg Op. 25, Number 1, Schoenberg Op. 25, No . 2Listen to every pieces as part of the reading plus the score excerpts.
Week six: September 24-26
Theme theory: Blood pressure measurements by Ratner and Gefhaben. Discussion of Hatten lectures
Analyze Leonard RatnerVintage Music: Phrase, Form, and elegance;Chs 1 & 2 (Blackboard )
Study Robert HattenInterpreting Music Gestures, Issues, and Tropes: Mozart, Mozart, Schubert;Introduction & ch 1 (Blackboard)
Take records. Be ready to describe the main principles covered inside the readings. Listen to the music reviewed.
Report analysis: Beethoven, Piano Sonatas, Op. a couple of, No . two & 3. Study initially movements in more detail. Listen and follow the score on most movements. Naxos(all Beethoven piano solo works)
Jonathan CrossThe Stravinsky LegacyCh one particular & two
Week 7: March 1-3
Score analysis: Beethoven, Symphony No . you, Op. 21 years old. Study initially movement in more detail. Listen and follow the score on every movements.To be completed, due Thurs night, Oct several: 1st movment score with analysis.
Modal Funding, more upon Modulation.(Complete Dr . Durrani’s Portion Writing Basics)
Serialism: Study AntokoletzTwentieth-Century Music, Ch a few (Blackboard )Scores for analyze: Webern options, Schoenberg Operative. 25, Number 1, Schoenberg Op. 25, No . a couple ofListen to most pieces within the reading plus the score excerpts.
Week almost eight: October 8-10
Intended for in-class study Tuesday: Ludwig van Mozart, Sonata for Violin and Piano Op. 24, Spring, initial mvt (Blackboard). Naxos(Spring and Kreutzer sonatas)
Chromatic A harmonious relationship, 19th-century repertoire
Find online Study Guide on the lookout for: Linear Reduced Seventh Chords, The Neapolitan TriadNeapolitan Sixth Chord (TMM part 3, ch 4)To become turned in Wednesday: E-Workbook (Part 3) work out, p. 21 years oldTo be turned in Thurs night: E-Workbook (Part 3) exercise, p. 23 (from the 3 exercises, choose 2)
Jonathan CrossThe Stravinsky LegacyCh one particular, 2, and 5 (Block forms, Minimalism)Operates by Stravinsky, Varese, Messiaen, Stockhausen, and othersScore for study: Petrushka excerptsJonathan D. Kramer. Postmodern Concepts of Musical Time Indiana Theory Review 17/2 (1996): 21-62.
Week 9 (Oct 15-17) and week 15 (Oct 22-24)
Increased Sixth Chords (TMM component III, ch 5. Find also, Doctor Durrani’s PWB p. 22-27. )See on the net Study Guide 10: Augmented Sixth Chords; Modulation by simply Other Means; Ninth ChordsThanks Tuesday, Oct 16: E-Workbook (Part 3) exercise, g. 26 (Parts 1-3 only).Credited Thursday, April 18: Practice Midterm (distributed in class)
Mozart, Keyboard Sonata in B level, K. 333, Finale. Turn in score proclaimed with analysis, Thursday, April 25.Ludwig van Beethoven, Keyboard Sonata No . 8 in C small, Op. 13, third mvt. Naxos(all Mozart piano solo works)Intended for next Tuesday to turn in: Joseph Haydn, Symphony Number 101 in D main, Hob. I/101, fourth mvt. Naxos(several Haydn symphonies)
Week 11: Oct 29-31
For Tues (to change in): Paul Haydn, Symphony No . 101 in Deb major, Hob. I/101, 4th mvt.
Begin Variation forms:
Purcell. Didos Lament fromDido and Aeneas(Blackboard )Mozart. Keyboard Sonata, E. 284, mvt. 3 (Blackboard )Beethoven. Seven Variations on God Preserve the King, research. (Blackboard ) Naxos(all Mozart piano alone works)
Not any class Thursday night, Nov six
Complete Variance form pieces
Mozart, Concerto in G significant for piano and orchestra, K. 453, mvt 1Mozart, Concerto in A major to get piano and orchestra, K. 488, mvt 1
Chromatic Harmony in Tune Repertoire
Songs by Clara Schumann, Franz Schubert, and Jerome Kern (Blackboard)
Minimalism and Recent Developments: Scores for analysis TBA
Review and practice exam
FINAL EXAM: Time TBA
I ought to apologise – in my past reading I’ve somehow skipped out 2 bars entirely!
1-4: c. w. i.5-6: varied repetition of bars 1-27-8:.9-12: continuation and cadential features
The crux of the is actually whether pubs 7-8 count as a replication of bars 3-4. They are doing resemble the other person in significant ways, yet bars 7-8 also endure classic outline of being continuation (chiefly motivic fragmentation and being sequential in nature).
So what is definitely the theme? If perhaps bars 7-8 repeat, different, bars 3-4, then pubs 1-12 certainly are a plain, even if compressed, mixture sentence. If they are continuation, then simply what we possess does not match easily into the category of formal types, however strongly resembles a compound sentence (having re-read the section upon Hybrid themes, I will no longer see how a great interpretation based on the Cross types types is usually tenable) just a little less firmly. My research of the idea would consequently be being a compound word, with a proviso that bars 7-8 possess a strong continuational character.