1. Choose (a) on page 2 or (b) on page 3 and: i. Name the key. ii. Name the type of Baroque dance the
opening represents. iii. Complete the upper voice to create
a melodic composition in rounded-binary form. The completed composition will have four phrases, for a total of sixteen measures. Use repeat signs at appropriate points.
iv. Mark the structural phrasing. v. In measure 9 to measure 16, add
a bass part at the cadences only. Complete the unused portion of the bass staff with rests.
vi. At each of the four cadences, write functional chord symbols. Name the type of each cadence.
1. Choisissez (a) à la page 2 ou (b) à la page 3 et : i. Identifiez la tonalité. ii. Indiquez le type de danse baroque
représenté par l’extrait. iii. Complétez la voix supérieure pour
créer une composition mélodique de forme binaire circulaire. En tout, la composition devra compter quatre phrases, pour un total de seize mesures. Insérez des signes de reprise aux endroits appropriés.
iv. Marquez la structure des phrases. v. Des mesures 9 à 16, ajoutez une
partie de basse aux cadences seulement. Insérez des silences aux endroits vides de la portée de basse.
vi. À chacune des quatre cadences, chiffrez les fonctions d’accords. Identifiez le type de chaque cadence.
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Question 1 continued
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a.
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Question 1 continuedb.
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2. Complete each of the following for four voices (SATB) according to the given functional chord symbols.
2. Complétez chacun des extraits suivants pour quatre voix (SATB) d’après les symboles d’accords fonctionnels donnés.
20
a.[10]
b.[10]
Basic HarmonyDecember 2014 5 of 9
3. Complete the following for four voices (SATB). Name the key and symbolize the harmony throughout using functional chord symbols.
3. Complétez l’extrait suivant pour quatre voix (SATB). Identifiez la tonalité et chiffrez toute l’harmonie avec des symboles d’accords fonctionnels.
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Basic HarmonyDecember 2014 6 of 9
4. For each of the following: i. Name the key. ii. Symbolize the harmony using
functional chord symbols. iii. Circle the non-chord notes and
classify them.
4. Pour chacun des extraits suivants : i. Identifiez la tonalité. ii. Chiffrez l’harmonie avec des
symboles d’accords fonctionnels. iii. Entourez les notes étrangères et
identifiez-les.
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a.[6]
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Basic HarmonyDecember 2014 7 of 9
b.[9]
Question 4 continued
Basic HarmonyDecember 2014 8 of 9
5. For each of the following: a. Name the principal key. b. Name the form. c. Label the sections of the form with
capital letters placed directly on the music.
d. Mark the structural phrasing. e. For each phrase ending:
i. Name the key. ii. Name the type of cadence as perfect,
imperfect, plagal, or deceptive.
5. Pour chacun des extraits suivants : a. Identifiez la tonalité principale. b. Indiquez la forme musicale. c. Identifiez les sections de la forme
en plaçant des lettres majuscules directement dans la partition.
d. Marquez la structure des phrases. e. Pour chaque fin de phrase :
i. Identifiez la tonalité. ii. Identifiez la cadence comme étant
1 Examiner Comments Basic Harmony Examination December 2014 Total Mark for this Examination: 75/100 1. Melody Writing: 11/15 Gigue: At the cadences, functional chord symbols should be shown for the entire bass part to indicate inversions or cadential movement. In measures 7 and 15, iiø6
5 should appear under the bass note D. In measure 11, i should appear under the first bass note A. The third phrase in this question presents an opportunity for students to show some melodic creativity. In this case, the third phrase has the same rhythm as the first, second, and fourth phrases—more variation from the given material would be better here. In measures 9 and 10, the harmony implied by the melody is not clear. If measure 9 is meant to imply V7, D (seventh of V7) needs to resolve downwards to C in measure 10. If the implied harmony in measure 9 is iio6, measure 10 needs to more clearly show V proceeding to i. In either case, the implied harmony is made less clear by the narrow melodic range in these two measures. In this working, the student has chosen to achieve rounded-binary form in phrase 4 by restating the second phrase. For this particular question, this approach is successful since the second phrase is itself a restatement of the first phrase. However, in many questions the given phrases are different. In these cases, using the second phrase as the basis for the fourth phrase will not yield rounded-binary form, which requires a return of the opening material in the first phrase. 2. SATB Harmonization – Given Chord Symbols: 14.5/20 a. In measure 2, the student has misspelled ii6 and V by writing D in the tenor instead of the correct note, C. The parallel octaves between V and vi could have been avoided by using contrary motion. In measure 3, V6
5 of V requires an E natural in the bass since this chord is borrowed from the key of F major. Note: The first seven chords of this progression form a diatonic descending fifths sequence. Sequential voice leading is expected for this portion of the exercise. b. In measure 1, V4
3 requires A sharp to create the leading tone in B minor. In measure 2, the augmented 2nd in the tenor from A sharp to G could have been avoided by allowing the leading tone to rise to B. On beat 4 of measure 2, a natural is needed to cancel A sharp in order to spell V4
2 in D major. Finally, in measure 3, the doubled F sharp in I6 has the effect of doubling the resolution of the seventh of V4
2. It would be more effective here to double the root of I6 (D).
2 Basic Harmony Examination: December 2014 continued
3. SATB Harmonization – Chorale: 21/30 Measure 1: The seventh of V7 (B flat) must resolve downwards. Because the note of resolution (A) is already in the soprano on the next chord, V would have been a better choice here. Measure 2: Smoother voice leading in the tenor is needed to balance the leap of a 4th in the given soprano. Using ii6 rather than IV here will make smooth voice leading achievable. Measure 3: Harmonizing the first 3 beats of this measure with I(6) creates an unbalanced harmonic rhythm. This phrase is more effectively harmonized in C major, as shown in the suggested chord symbols written on the paper. Measure 4: The fermata under the bass voice is missing. Measure 5: The use of IV6
4 to lead to V65 is not the best chord choice as IV6
4 is most effectively used as a decoration of I. A more appropriate choice would be ii42. Measures 5–6: The parallel octaves between V and vi could have been avoided by the use of contrary motion. When moving from V to vi, the most effective treatment of the leading tone is to have it resolve upwards by step to the tonic. Measure 6: Using V/V on beat 2 would create a stronger imperfect cadence here. Measure 7: Doubling the third of IV6 is unusual here; the typical doubling would be the root or fifth of the chord. The parallel octaves and angular tenor voice leading from IV to V could have been avoided by using contrary motion. The use of the cadential 6
4 decorating V would have created an even stronger final cadence. Measure 8: The fermata under the bass note is missing. 4. Harmonic Analysis: 10.5/15 a. The analysis of the first 2 beats of measure 1 seems to have neglected the dotted-quarter note in the bass. Because this note is still sounding, all of beat 1 should be considered tonic harmony (i), and the chord on the first eighth note of beat 2 is iiø4
2 (A-C-E flat with G still sounding in the bass). This also affects the analysis of the non-chord tones in the upper parts as marked on the paper. When symbolizing V6
5 in a minor key, it is not necessary to indicate the raised leading tone with a sharp sign in the chord symbol. Note that a sharp sign without a number refers to a third above the bass—in this case, the chord symbol V#
651 is actually indicating an A sharp, since the bass note is F
sharp. To properly indicate an accidental in the bass part, use #1. b. Measure 1: The first chord symbol (I) should be placed under the downbeat of measure 1 to properly indicate the harmonic rhythm. The symbol for V in the second half of the measure does not indicate the chord’s inversion (V6).
3 Basic Harmony Examination: December 2014 continued
Measure 3: The last chord in the measure is vi6, since the E in the top voice of the piano part is still sounding. Measure 4: The second chord does not contain an A, so the correct chord symbol here is viio6/V. The inversion of the last chord is incorrect and should read V4
2. Measure 7: The cadential 6
4 does not resolve to 53 until the last eighth note of the measure. The C in
the violin part does not act as the seventh of V7, since it does not resolve downwards to B in measure 8. The C is an échappée decorating the melodic line B-A-G. 5. Structural Analysis: 18/20 Sarabande: All elements of this piece were correctly identified, and full marks were awarded. Menuet: Measures 11–12: The cadence is in E minor as indicated by the D sharp in the melody. The implied harmony is viiº6 to i6, forming a perfect cadence. Measures 15–16: The cadence is in D major as indicated by the C sharp in the melody. The implied harmony is ii6 to V, forming an imperfect cadence. Note: That the cadence names are linked to the key labeled at the end of each phrase. If the key is incorrectly labeled, no credit can be given for the cadence name.
