MTO 18.4 Examples: Goldenberg, The Interruption-Fill and Corollary Procedures
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1 1 of 16 MTO 18.4 Examples: Goldenberg, The Interruption-Fill and Corollary Procedures (Note: audio, video, and other interactive examples are only available online) Example 1. Basic upper-voice interruption-fill before : Schubert, Impromptu op. 90 no. 3 (D. 899), measures 1 8. Voice-leading graph
2 2 of 16 Example 2. Continuous motion across interruption without interruption-fill: Haydn, Symphony no. 92 [Oxford], fourth movement, measures 1 9. Annotated reduction Example 3. Larger chromatic motion starting from the chromatic lead-in: Haydn, Piano Variations in F minor, Hob. XVII:6, measures Voice-leading graph
3 3 of 16 Example 4. Expansion of the consequent based on the interruption-fill: Haydn, Symphony no. 104, second movement, measures Annotated reduction Example 5. Interruption-fill continues motion from an inner voice: Beethoven, Piano Sonata op. 2 no. 1, second movement, measures 1 8 and Voice-leading graph Example 6. A diatonic melodic sixth based on a fifth-progression plus a step: Priestermarsch. From Mozart, Die Zauberflöte, K. 620, Act 2. Measures Annotated reduction
4 4 of 16 Example 7. Ascent across interruption without filling-in, combining motion from an inner voice with initial ascent: Mozart, Serenade K. 320, fourth movement, measures Voice-leading graph Example 8. Magnified ascent to the lead-in: Widor, Valse-Impromptu op. 15 no. 6, measures Annotated score
5 5 of 16 Example 9. Lead-in in the original register before an octave shift: Chopin, Nocturne op. 48 no. 1, measures Annotated score Example 10. Lead-in grouped with the consequent: Chopin, Mazurka op. 56 no. 3, measures Voice-leading graph Example 11. Lack of simultaneous V before interruption-fill: Chopin, Nocturne op. 9 no. 1, measures 36 40
6 6 of 16 Example 12. Basic upper-voice interruption-fill before : Beethoven, Theme for Piano Variations op. 34, measures 1 6. Annotated score Example 13. The seventh at the middle of an interruption-structure from : a) the seventh as a true upper neighbor to cancels the interruption; b) the seventh as an offshoot from V left unexplained; c) the seventh as a descending interruption-fill from a cover tone before ; d) the seventh as a descending interruption-fill from a cover tone before, paradoxically combined with the ascending interruption-fill
7 7 of 16 Example 14. Emphasized within a fourth-progression toward V : Beethoven, Piano Sonata op. 31 no. 1, third movement, measures Annotated score Example 15. lead-in after an illusory seventh-progression: Mozart, String Quartet K. 465, second movement, measures Annotated score
8 8 of 16 Example 16. Ascent to the regained based on anticipation without interruption-fill: Mozart, Violin Concerto no. 5, K. 219, third movement, measures Voice-leading graph Example 17. Deformation of interruption-fill: Haydn, Symphony no. 101, second movement, (1) measures 1 10 (normative); (2) measures Annotated score
9 9 of 16 Example 18. Combination of anticipation from an augmented triad and interruption in the bass: Grieg, Poetische Bilder op. 3, no. 3: Con moto, measures Annotated score Example 19a. Kalinnikov, Nocturne in F-sharp minor, measures Annotated score
10 10 of 16 Example 19b. Kalinnikov, Nocturne in F-sharp minor, measures Voice-leading graph Example 20. "Tonicization of the lead-in : Grieg, Stimmungen op. 73, no. 2: Scherzo-Impromptu, measures Voice-leading graph
11 Example 21. Chromatic Lead-in in an Open Chromatic Context Wagner, Tristan und Isolde, Act 2, scene 2 (excerpt) Reduction by Hans von Bülow 11 of 16
12 12 of 16 Example 22a. Liszt, Piano Sonata in B minor, measures Example 22b. Liszt, Piano Sonata in B minor, measures Annotated score
13 13 of 16 Example 23. Descending upper-voice interruption-fill to : Haydn, Symphony no. 77, second movement, measures Annotated score Example 24. Division of a ninth into two fifths replaces ordinary lead-in: Chopin, Mazurka op. 63 no. 1, measures 1 8. Annotated score
14 14 of 16 Example 25. Ascending interruption-fill in the bass: Ich bin s, Ich sollte büssen. From Bach, St. Matthew Passion, no. 16. Voice-leading graph (after Schenker) Example 26. Alternative interpretations of the descending bass from V to I Example 27. The caesura-fill as a fourth-progression plus a step: Mozart, Symphony no. 39, K. 543, first movement, measures Annotated melodic line
15 15 of 16 Example 28. A descending caesura-fill that defies clear division: Haydn, Piano Sonata XVI:40, second movement, measures 1 5. Annotated score Example 29. Illegal passing tones after a back-relating dominant: Der hölle Rache kocht in meinem Herzen. From Mozart, Die Zauberflöte, K. 620, Act 2. Voice-leading graph (bass only) Example 30. Illegal passing tones between two occurrences of an auxiliary cadence: Beethoven, String Quartet op. 59 no. 2, fourth movement, measures Voice-leading graph
16 Example 31. Illegal passing tones from a cover tone: Mozart, Piano Sonata K. 576, first movement, measure 48. Voice-leading graph 16 of 16
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Outline of New Section 7.5: onnetz Patterns in Music his section will describe several examples of interesting patterns on the onnetz that occur in a variety of musical compositions. hese patterns show
MUSIC. Paper 1 Practical Test 15% about 10 minutes Paper 2 Listening Test 25% 1½ hours Paper 3 Theory & History of Music % 3 hours
MUSIC AIMS The aims of this syllabus are to encourage the habit of listening intelligently to music, to develop music literacy and to have a general understanding of Western and Chinese music culture.
Beethoven's Thematic Processes in the Piano Sonata in G Major, Op. 14: "An Illusion of Simplicity"
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AUDITION INFORMATION Audition slots will last no longer than 15 minutes and candidates should prepare the following depending on their instrument. In addition, all candidates will be asked to prepare orchestral
Student Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
History of Music II: Late Baroque and Classical MUS 133b, Spring 2016 Tuesday/Friday 11:00 a.m. to 12:20 p.m. Slosberg 212
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Lesson One. New Terms. Cambiata: a non-harmonic note reached by skip of (usually a third) and resolved by a step.
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MASTER OF MUSIC PERFORMANCE
Revision: December 2017 MASTER OF MUSIC PERFORMANCE Following acceptance into the Performance degree program, each applicant will take music placement exams in piano (vocal students only), music theory