King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018
[BLANK PAGE]
Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic: Dominant: Subdominant: Dominant seventh: Leading note: Perfect cadence: Imperfect cadence: three-note chords that form the basis for tonal music the bottom note of a triad when it is written out in root position (as in examples below). This note is not necessarily always in the bass. chord labels using the Roman system of numbers which indicate which of the seven notes of the scale a triad has as it root. chord I (and the first note of a scale) chord V chord IV chord V with an added seventh above the root the seventh note of the scale (leads to the tonic from one note below) V I chord progression at the end of a phrase A chord progression ending a phrase on V Exercise A1 Complete the following table of the primary triads (I, IV and V) plus a dominant seventh (V 7 ) in a range of major and minor keys. Lower case keys (e.g. a:) are in the minor. Remember that in minor keys the leading note (the one below the tonic) needs to be raised 1
Exercise A2 Write out the primary triads of D major and A major: Write the correct Roman numeral labels below the chords marked on the Corelli and Haydn scores provided. A2 (i) Corelli: Corrente from Sonata no. 1 in D (op 2) Note: the notes of the chord may be in any order the root will not necessarily be in the bass When a chord has two notes (i.e. chords b, f and c) it is usually the fifth that is missing. Violin 1 Violin 2 Cello D: 2
A2( ii) Haydn: Allegretto alla zingarese from String Quartet in D (op. 20 no. 4) Note: the viola part is in alto clef (the middle line is a C) the music changes key to A major before the last two chords that you have to identify. Violin 1 Violin 2 Viola Cello D: A: First inversion chords Key terms First inversion: Doubling: Figured bass: a triad or seventh chord with the third in the bass In a four-voice texture, one of the three notes of a triad needs be used twice - this note is said to be doubled. Root position chords tend to have the root doubled whereas in first inversion chords it can either be the root or the third. First inversion chords are labelled with a 6 next to the Roman numeral. This is short for 6 / 3, in other words a sixth and a third above the root. Exercise A3 (i) Rewrite the following chords in root position and write the correct Roman numeral in Bb major as in the first example. 3
Exercise A3 (ii) Rewrite the following chords in first inversion and write the correct Roman numeral in B minor as in the first example. Second inversion chords Key terms Second inversion: Figured bass: a triad or seventh chord with the fifth in the bass. It is usual to double the fifth of the chord (i.e. the note in the bass) in second inversion chords. For the moment we are looking at second inversion chords on their own. Second inversions, however, are very unstable and we will most often find them as a decoration of chord V. Second inversion chords are labelled with a 6 / 4 next to the Roman numeral, meaning a sixth and a fourth above the bass. The 6/4 usually resolves downwards by step to 5/3 over the same bass note as we shall see in Exercise C2. Exercise A4 (i) Rewrite the following tonic chords (i.e. they are all Chord I) in root position as in the example. You will need to work out the key of each first and then label as in the first example. The exercises may be in a major or minor key - remember that lower case is used to show minor keys. Exercise A4 (ii) Rewrite the following chords in second inversion. You will need to work out the key of each first and then label the chords as in the first example. The exercises may be in a major or minor key. 4
Exercise A5 Write out the primary triads of Eb major: Note: the viola part is in alto clef (the middle line is a C) not all the chords have the root in the bass the final two chords do not contain all the notes of the triad only look at the bottom three parts for c) and d) Haydn: Minuetto from Quartet in Eb major (op. 33 no. 2) a) b) Violin 1 Violin 2 Viola Cello c) d) e) d) 5
Exercise A6 Work out the key Write out the primary triads Label the chords Note that there are no more than two chords per bar Label all the dissonant embellishments (don t worry about arpeggios) Andante from Haydn String Quartet Op.3 No. 5 6
Embellishments Key terms Accented: Unaccented: Arpeggio: Passing note: Auxiliary note: Appoggiatura: Suspension: Anticipation: an embellishment that is on a relatively strong note (e.g. on odd numbered crotchets, quavers or semiquavers) an embellishment that is on a relatively weak note (e.g. even numbered crotchets, quavers or semiquavers) a melodic pattern that skips between notes of harmony an embellishment that is dissonant with the harmony and is approached and quitted by step in the same direction an embellishment that is dissonant with the harmony and is approached and quitted by step in opposite directions (i.e. it returns to the original note) an accented dissonant embellishment that is quitted by step (and strictly speaking approached by leap) an accented dissonant embellishment that is prepared by being approached from the same note and then quitted by step an unaccented dissonant embellishment that anticipates the following note and is approached by step. It is most often found at cadences. Exercise B1 Use the table of Dissonances resolved by step to label the following embellishments. You will need to work out the chords in the accompaniment first. Note if the embellishment is part of the chord (i.e. not dissonant) it is simply an arpeggio. C major: 7
Exercise B2 (writing a basic idea see www.alevelmusic.com) 1) Choose metre, tempo, key etc. METRES TEMPI KEY GESTURES 6/8 Presto (mm. 176) D major A dotted rhythm 2/2 Adagio (mm. 66) G minor Three staccato crotchets 3/4 Allegretto (mm. 120) Bb major A legato triplet 2/4 Andante (mm. 84) F major Two slurred notes followed by a staccato note 4/4 Allegro vivace (mm. 144) B minor Staccato quaver followed by two slurred semiquave 2) Devise a one-bar opening melodic idea that fits with the tonic chord of C major. All the notes you use should either be from the chord or a standard embellishment of one of chord notes. Label the embellishing notes that are NOT from the chord as follows: Unaccented passing note (UPN) Accented passing note (APN) Appoggiatura (Appog.) Arpeggio (Arp.) Auxiliary (Aux.) 3) Adapt the opening melodic idea for the second bar so that it fits either with chord V or with chord IV. You should label the embellishments as above. Opening melodic idea Bar 1 adapted for IV or V 8
Exercise B3 Use the table of Dissonances resolved by step to help you identify each embellishment. If the note is not dissonant, it is an arpeggio. The extract is in G minor. a) Chord: notes i : G Bb D Dissonant Note? Embellishment? b) c) d) Haydn: Andante from Piano Sonata no. 11 9
Exercise B4 Chord Types Exercise 1 For each chord identify the type of third (major or minor), fifth (perfect, diminished or augmented) and triad (major, minor augmented or diminished). For these exercises, we are not worried about the key or function, simply the types of chords involved. If the third is and the fifth is then the triad will be Major Perfect Major Minor Perfect Minor Major Augmented Augmented Minor Diminished Diminished 10
Chord Types Exercise 2 Identify the key and label the diatonic chords using Roman numerals as outlined in the table below. Chord type Label Examples Major chords Upper case I, IV Minor chords Lower case ii, vi Diminished chords Lower case with small circle vii Augmented chords Upper case with small plus sign III+ (in minor key) a) Major keys b) Minor keys 11
Harmonising in the Chorale Style Perfect Cadences 1 (cadential 6/4) In this section we are going to learn the basics of cadences by writing very simple homophonic textures (all parts moving together in chords). The style of the music we are writing is loosely based on the harmonisations of hymn tunes composed by J.S. Bach in the late Baroque. These harmonised melodies are called chorales. The conventions that Bach follows in terms of the harmony and voice-leading (how the individual parts are written and how they work together) are the same principles underpin most music in the Western Classical Style. Chorales are generally written in four parts which are named as in the example below: Soprano Alto Tenor Bass C: V I (Note the passing note in the tenor part it makes V into V7 and is fairly common.) Key terms Voice-leading conventions In different styles of music through history, composers tend to stick to various conventions as to 1) how each voice leads from note to note and 2) how the voices interact with each other Basic voice-leading conventions for writing in a chorale style Doubling Spacing Leaps Leading notes Parallels Each chord should contain all the notes of the triad. Root position chords should double the root / first inversion should double the root or third / second inversion chords should double the fifth No more than an octave from Soprano to Alto and Alto to Tenor. No more than an octave and a fifth between Soprano and Tenor The inner parts (Alto/Tenor) should never leap more than a fourth and the line should be mostly stepwise. An individual voice should not go from the leading note of the scale (7) to the third. No two voices should move from a fifth to another fifth consecutively. The same applied to octaves. 12
Exercise C1 Each bar of this exercise is separate perfect cadence (V-I) in a new key. They are a mixture of major and minor but they all end on the tonic note. 1. Do the bass line o The first chord should be V in root position o The second chord should be I in root position 2. Write out the notes for chords V and I under the chords and tick those off that you have already used 3. Fill in the alto and tenor lines (they mustn t cross over or under the existing lines or each other) making sure you bear in mind the conventions outlined opposite Ranges: 13
Exercise C2(i) Analyse the chords used in this three-chord cadence (don t worry about the passing note): F: F: Complete the following cadences in the same manner as Exercise C1 using the chord progressions above. a) b) c) d) 14
Exercise C2(ii) Mark faults (doubling, spacing, leaps, leading notes, parallels) in the cadences below and then rewrite correctly. a) b) c) 15
Extended Chorale Exercises In this section we are developing further understanding of voice-leading in the chorale style. Here are two phrases from Bach s harmonisation of a German Hymn tune Herr Jesu Christ. Exercise CX3 Complete in the same manner as C1, writing out the notes you need under each bass note and ticking them off as you use them. You should write out the chords of A major on a piece of manuscript paper first. Remember to follow the voice-leading conventions. Note that the tenor part has been completed for you towards the end. This is because the ii6/5 chord contains a seventh, which needs to be treated as a suspension. Doubling Spacing Leaps Parallels Leading notes Each chord should contain all the notes of the triad. Root position chords should double the root. First inversions should double the root or third. Second inversion chords should double the fifth (PLUS chord viib double the third) No more than an octave from Soprano to Alto and Alto to Bass. No more than an octave and a fifth between Soprano and Tenor The inner parts (Alto/Tenor) should never leap more than a fourth and the line should be mostly stepwise. No two voices should move from a fifth to another fifth consecutively. The same applied to octaves. An individual voice should not go from the leading note of the scale (7) to the third. 16
Exercise CX4 Bach: Als Jesus Christus in der Nacht (slightly simplified) The voice-leading conventions from the previous exercise still apply. You should proceed as follows: Write out chords I and V in F major Put in the bass line first Tick off the notes you have already used Put in the Alto and Tenor parts Fill in the table below first: (F major) Root Third Fifth Chord I Chord V Fill in the missing chords indicated by stars below make sure that you follow the Roman numerals. One chord should be in first inversion with the other two in root position. 17
Exercise CX5 Mozart: Sonata in A (KV331), Andante Grazioso In this exercise, you will use the same basic voice-leading principles to complete a perfect cadence in a piece for piano. Complete the last bar, following the spacing from the previous chord and keeping the voice-leading as smooth as possible. You should keep three notes in the right hand and one in the left. Make sure that you follow the Roman numerals and voice-leading conventions already outlined. Fill in the table below first: (A major) Root Third Fifth Chord I Chord V 18
Perfect cadences 2 Exercise D1 (RM9, final phrase, slightly simplified) Label the chords below in the key of G major In the second-to-last chord there is a seventh. This note is dissonant and has to be treated as a suspension. Mark the three parts to the suspension with a circle and the relevant letter (they will all be in the same voice): o (P) in the previous chord the seventh has to be prepared by the same note o (S) the suspension itself is the seventh o (R) in the following chord, the suspension resolves downwards by step G: Exercise D2 In these two exercises you need to fill in the alto and tenor parts, following the same conventions as before. You should tick off notes as you use them to make sure you get the doubling right. Pay careful attention to the models in Exercise D1. 19
Exercise D3 In these two exercises you need to fill in the alto and tenor parts, following the same Ib ii6/5 V I pattern as exercises D1 and D2. Start with the bass line Put in preparation-suspension-resolution on chord ii6/5 (no need to do this if already in the soprano part) Fill in the other parts 1 2 3 20
String Quartet Textures (Melody Dominated Homophony) Exercise E1 Describe in as much detail as you can how the accompaniment works in this extract. Composer W. A. Mozart ID SQ1 Extract String Quartet KV 156, I: Presto, bb. 1-19 Notes Go to the WCT Style Composition Hub on www.alevelmusic.com and click straight through to Simple String Quartet Textures to see and hear this and other examples. 21
Exercise E2 Adapt the texture from Exercise E1 to use in this example. You will have to adapt the rhythm. It will be best if you have the equivalent to two bars of the pattern in E1 to one bar of this exercise Keep the voice-leading in the inner parts as smooth as possible Ensure that all the notes of the chord are present and that the chord is in the correct inversion (i.e. that indicated by the Roman Numeral) 22
Parallel motion Exercise E3: Mozart String Quartet KV 157 I: bb. 1-8 Describe how the second violin part relates to the first violin part in this extract in the first four bars. Is it always in exactly the same relationship? Exercise E4: Haydn String Quartet op/ 74 no. 2 Complete this texture using lower thirds and/or sixths in the second violin part. Remember: your second violin part should make sense with the harmony and dissonances should be treated correctly. 23
Exercise E5: Haydn String Quartet op/ 76 no. 6 i Complete this texture using lower thirds and/or sixths in the second violin part. Remember: your second violin part should make sense with the harmony and dissonances should be treated correctly. Exercise E7: Haydn String Quartet op/ 74 no. 22 i Complete this texture using lower thirds and/or sixths in the second violin part. Remember: your second violin part should make sense with the harmony and dissonances should be treated correctly. 24
Perfect Cadences 3 Exercise F1 Analyse the following phrase in C minor, using Roman Numerals below: c: Exercise F2 Complete the following two phrases in four-part chorale style, keeping in mind all the conventions previously discussed and sticking to the harmonic model provided by F1 a) b) 25
Cadences in other Textures In these two cadences Haydn makes slightly different choices about how to end his phrase. In the piano sonata, the melody going into the cadence is very generic. You could cut and paste this onto the end of nearly any melody - only the accompaniment and the staccato articulation link it to the rest of the phrase. Haydn: Piano Sonata No. 48 in C (Hob XVI: 35) In this quartet, however, the music right up to the final note of the phrase is motivically linked to the beginning and indeed the preceding music (not shown). Haydn: String Quartet Op. 33 No. 2, fourth movement 26
Exercise G1a: Haydn, String Quartet Op. 50 No. 4, second movement Complete the melody line in this texture. The melody must end on the tonic note on the first beat of the last bar. Exercise G1b: Haydn, String Quartet Op. 50 No. 4, third movement Complete the first and second violin parts in this texture. The melody must end on the tonic note on the first beat of the last bar. You may want to make use of parallel motion between the first and second violins. 27
Exercise G2: Haydn, String Quartet Op. 33 No. 2, first movement Complete the accompanying inner parts in this texture in bars 1-2. In bars 3-4 you should continue the texture and add a melody line that arrives on the tonic on the final chord of the extract. 28
Exercise GX3: Mozart, Violin Sonata KV301 (bb. 67-69) 29
Imperfect Cadences An imperfect cadence is any chord progression ending on V. There are many variants, including I V, IV V and ii V. Exercise I1 (chorale style) Analyse the chord progressions using Roman Numerals and then use the appropriate cadence in each of the exercises below. Page 30
Exercise IX2 (Mozart Piano Sonata, K330. last movement) Mark any imperfect cadences you can see and hear on this excerpt. Exercise IX3 (Mozart Piano Sonata, K576, first movement) Analyse the three chords in the third and fourth full bars where indicated by stars. Page 31
Exercise IX4 (Beethoven Op. 49 No. 1, first movement) Complete the following piano sonata opening by Beethoven, being careful to follow the Roman numerals. Exercise I5 (extension task) Write a four-bar phrase that ends on an imperfect cadence. You can write just chords or a complete piano texture using ideas from other examples in this booklet. Page 32
Motifs and Sentences Exercise J1 (Beethoven Piano Sonata Op. 2 No. 1) Mark repetitions of the first two full bars plus any fragments of those bars Analyse the harmony Write a brief description of what happens in this phrase in terms of motifs, harmony and cadence. Exercise J2 (Mozart Piano Sonata in C, KV 309) Complete the same analysis on this extract from a Mozart Sonata Page 33
Exercise J3 Write an eight-bar phrase with the following structure (write it in a piano score initially just with melody and chords). Write it in A MAJOR. 1) Presentation (4 bars). The presentation should consist of the two-bar basic idea followed by a repetition of that idea but adapted for different chords. Use one of the models in the table below: Bars 1-2 Bars 3-4 I V I IV I V V I I ii V I I IV V I 2) Fragmentation (2 bars). Take a motivic idea from the presentation and repeat it as a short sequence I (V I) I6 Sequences vi (iii vi) vii6 3) Cadence (2 bars). Write a generic perfect or imperfect cadence to finish your phrase off. (e.g. ii6 V I if you end with vii6 in the previous section you will need to start with I before the ii / if you end with vi then ii is best to start here) Page 34
Harmonic Sequences Exercise K1 (Mozart Piano Sonata in C major, K545) Use Roman numerals to label the chords in the boxes in the key of G major. Page 35
Exercise K2 Write a melody based on the same harmonic progression in A major. 1) Write in chord labels 2) Write bass notes of the chords 3) Write the first bar 4) Sequence this bar as indicated for the next two bars 5) Adapt the final sequence so that it stays on the dominant () 1 bar idea sequence down a step I (tonic) sequence down another step adapted sequence that stays on dominant V (dominant) Page 36
Exercise K3 Now look at the notes on Harmonic Sequences on Moodle. Choose a different pattern and write a passage based on this sequence. You can adapt your melodic material from Exercise K2 if you wish, or start afresh. Page 37
Musical Periods Exercise L1 (Mozart K. 525, second movement) Mark repetitions and cadences on the following extract. Page 38
Exercise L2 (J.C. Bach, Symphony in Bb, Second movement) Mark repetitions and cadences on this extract.. Page 39
Exercise L3 Write a four or eight bar melody that follows the pattern of L1 and L2. You must finish the first half with an imperfect cadence and the second half with a perfect cadence. Page 40
Exercise L4 (Mendelssohn Symphony No. 4, Second movement) (note the actual version repeats each section with varied orchestration these repeats are omitted here) Analyse the repetitions and cadences in the following extract Page 41
Exercise LX5 Write a melody that follows the pattern of L4. You must finish the first half with an imperfect cadence and the second half with a perfect cadence. Page 42
Imitation Exercise MX1 (Corelli op. 3 no, 1, Allegro) Exercise MX2 (Corelli op. 3 no, 2, Allegro) Page 43
Exercise MX3 (Corelli op. 3 no, 1, Allegro) The following exercises has the first bar of each point of imitation, fill in the rest of the blank bars to complete the texture. Make sure that bar 2 of Violin 1 and bar 3 of Violin 2 are as similar as possible in shape. Exercise MX4 Write your own set of imitative entries in the same manner as Exercise M3. Try staring the second entry on the dominant like in the example. Page 44
Haydn Minuet (Hob. IX: 20/8) Page 45
Haydn, Minuet from Sonata No. 3 Page 46