1. Choose one of the following melodies and: a. Name the key. b. Name the type of Baroque dance that it
represents. c. Continue it to create a sixteen-measure
composition with four phrases, motivic unity, and modulation to a traditional goal key.
d. Use binary or rounded-binary form with repeat signs at appropriate points. Name the form.
e. Mark the phrasing. f. For each of the four phrase endings:
i. Add a bass line and symbolize the harmony using functional chord symbols.
ii. Name the key. iii. Name the cadence type.
1. Choisissez l’une des mélodies suivantes et : a. Identifiez la tonalité. b. Indiquez le type de danse baroque
représenté par l’extrait. c. Prolongez le fragment pour créer
une composition de seize mesures comportant quatre phrases et démontrant l’unité motivique et une modulation appropriée.
d. Utilisez la forme binaire ou binaire circulaire et mettez des signes de reprise aux endroits appropriés. Identifiez la forme.
e. Marquez le phrasé. f. Pour chaque fin de phrase :
i. Ajoutez une ligne de basse et chiffrez l’harmonie avec des symboles d’accords fonctionnels.
ii. Identifiez la tonalité. iii. Identifiez le type de cadence.
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Intermediate HarmonyDecember 2014 2 of 14
Question 1 continued
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Intermediate HarmonyDecember 2014 3 of 14
Question 1 continued
Intermediate HarmonyDecember 2014 4 of 14
2. a. For the following: i. Name the key. ii. Complete the harmonization for
four voices (SATB) according to the given chord symbols.
2. a. Pour l’extrait suivant : i. Identifiez la tonalité. ii. Complétez l’harmonisation pour
quatre voix (SATB) d’après les symboles d’accords donnés.
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Intermediate HarmonyDecember 2014 5 of 14
b. For the following: i. Name the key. ii. Complete the realization of the
figured bass in keyboard style. iii. Complete the harmonic analysis by
writing root/quality chord symbols above the treble staff, indicating the bass note for each inverted chord.
b. Pour l’extrait suivant : i. Identifiez la tonalité. ii. Complétez la réalisation de la basse
chiffrée pour clavier. iii. Complétez l’analyse harmonique
en écrivant les fondamentales/types d’accords au-dessus de la portée de clef de sol, en indiquant la note de basse pour chaque accord renversé.
[10]
Question 2 continued
Intermediate HarmonyDecember 2014 6 of 14
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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Intermediate HarmonyDecember 2014 7 of 14
4. For the following: a. Name the key. b. Symbolize the harmony using functional
chord symbols. c. Circle the non-chord notes and classify
them.
4. Pour l’extrait suivant : a. Identifiez la tonalité. b. Chiffrez l’harmonie avec des symboles
d’accords fonctionnels. c. Entourez les notes étrangères et
identifiez-les.
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Intermediate HarmonyDecember 2014 8 of 14
5. The following movement by Beethoven is in rondo form.
a. Analyze the form of the entire movement by labeling the following sections directly on the music:• Section A1• Section B• Link (retransition)• Section A2• Section C• Link (retransition)• Section A3• Coda
b. Analyze the section at measure 1 to measure 16 by answering the questions below.
i. Name the principal key.
ii. Name the internal form of this section.
iii. Label the sections of this form with lower case letters placed directly on the music.
iv. Name the type of sequence in measure 1 to measure 3.
c. Name the key at each of the following points:
• measure 18:
• measure 51:
d. Briefly identify the most significant changes to Section A when it recurs: • at Section A2:
• at Section A3:
5. Le mouvement suivant de Beethoven est de forme rondo.
a. Analysez la forme de tout le mouvement en identifiant les sections suivantes directement dans la partition :• section A1• section B• conduit (retransition)• section A2• section C• conduit (retransition)• section A3• coda
b. Analysez la section de la mesure 1 à la mesure 16 en répondant aux questions ci-dessous.
i. Identifiez la tonalité principale.
ii. Identifiez la forme interne de cette section.
iii. Identifiez les sections de cette forme en plaçant des lettres minuscules directement dans la partition.
iv. Identifiez le type de marche de la mesure 1 à la mesure 3.
c. Identifiez la tonalité à chacun de ces points :
• mesure 18 :
• mesure 51 :
d. Expliquez brièvement les changements les plus importants de la section A lorsqu’elle réapparaît :• à la section A2 :
Examiner Comments Intermediate Harmony Examination December 2014 Total Mark for this Examination: 72/100 1. Melody Writing: 10/15 Cadences are important structural markers that provide points of rest and stability within a composition. In this working, all four cadences are contained in the final bar of each phrase, with the first chord taking beats 1 and 2 and the chord of resolution occurring on beat 3. While this is possible and can be found in the literature, a more effective harmonic rhythm in triple meter would be to have the first chord of the cadence on beat 3 of the second last bar of the phrase and the chord of resolution on the downbeat of the last bar of the phrase. Placing the cadence over the bar line places the chord of resolution on a strong beat, providing greater stability. In phrase 2, the student has made an effort to modulate to the dominant key of E major. However, this modulation would be more effective if the leading tone (D sharp) is introduced earlier in the phrase. Phrase 3 appears to be in the key of E major, but the harmonic progression implied by the melody is unclear. This is compounded by the appearance of the leading tone (D sharp) in measure 10, which does not seem to have any subsequent resolution. In measure 12, the melody does not clearly imply the harmony shown by the chord symbols. The rhythm of phrase 4 contains three immediate repetitions of a two-beat figure that obscures the overall triple meter of the composition by implying a syncopated harmonic rhythm. A greater sense of the minuet dance character would be preferable here. 2. SATB and Figured Bass Harmonization – Given Chord Symbols: 13.5/20 a. In measure 1, the thirteenth of V13 is retained as a common tone in the following chord, resulting in a doubled fifth in vi. The thirteenth should instead fall by skip to the tonic (D). On beat 4, V /IV is missing the necessary C natural. The seventh of this chord is also not resolved correctly, creating parallel fifths leading to the downbeat of measure 2. In measure 2, viiº7/ii is not resolved correctly—the alto and soprano form a diminished fifth which then leads into a perfect fifth on ii. The preferable resolution would be for the F sharp in the alto rise to G, resolving the diminished fifth between soprano and alto. On beat 4, V /V is missing a natural in the bass to cancel the D sharp from beat 2. Lastly, in measure 3 greater care must be taken to avoid the parallel fifths between IV6 and V .
Intermediate Harmony Examination: December 2014 continued
b. In measure 2, beat 1, the outer notes of the right hand chord form a diminished fifth leading into a perfect fifth on beat 2. It would be preferable here to move the C sharp upwards, resulting in a tonic chord with a doubled third. On beat 4, the chord is missing the G sharp indicated by the figure. The root/quality chord symbol for measure 2, beat 3 should read Em7. The chord on beat 4 should be C 7/E . Lastly, the D sharp in the final chord makes the quality major—the chord symbol here should be B. Note that in figured bass questions, functional chord symbols are not required unless stipulated in the instructions. No deductions were made for the incorrect functional chord symbols in measure 2. 3. SATB Harmonization – Chorale: 19/30 Measure 1: The G in the tenor on the second half of beat 2 misspells the chord V , which should be D–F –A–C. The i chord on beat 3 is missing the third (B flat). The parallel octaves, voice overlap, and incorrectly treated leading tone in the voice leading from beat 4 into measure 2 could be corrected by the use of stepwise motion in the inner parts. Measure 3: The voice leading in the tenor part from beats 2 to 3 would benefit from stepwise motion. The preferred doubling for I6 is either the root or fifth, rather than the third. Measures 3–4: Greater care must be taken here to choose chords and inversions that would create a more melodic bass line. Note that the chord progression ii–vi does not demonstrate normal harmonic function. One possible way to approach harmonizing this phrase would be to notice that the given soprano line is the same as the melody of phrase 1 transposed into B flat major. Measure 4: Note the consecutive octaves by contrary motion between the bass and alto on beats 1 and 2, followed by parallel octaves in the same voices on beats 2 and 3. The V chord at the fermata is missing its third (A). Measure 5: The parallel octaves in the progression IV6–V could have been avoided by starting the IV6 chord with correct doubling and then moving the alto and tenor in contrary motion to the bass. The V chord is missing its root (F) and the doubled leading tone here contributes to another set of parallel octaves moving to I on beat 2. Note that the V chord (F–A–C) on beat 3 is misspelled with a D in the tenor. Measure 6: Note that in a minor key, the supertonic chord is a diminished triad. The doubled third on iv6 is a contributing factor to the parallel octaves moving to the V chord.
Intermediate Harmony Examination: December 2014 continued
Measures 6–7: Note that the leading tone in the bass should resolve upward by step rather than leaping down a major seventh. In general, the bass line in this phrase could be made less angular through a more judicious use of chord inversions. Note also the parallel fifths between the soprano and alto from measure 6, beat 4 to the downbeat of measure 7. 4. Harmonic Analysis: 15/20 Measure 2: The melody on beat 3 suggests a chord change to ii6. Measure 3: The B flat in the chord needs to be indicated in the chord symbol, which should be V . Measure 4: The student has incorrectly named the key as G major. However, the chord analysis appears to have been done in the correct key of C major. Measure 5: The inversion is incorrect on the first chord symbol. The chord of viiø would have a D in the bass. Since the bass note here is F, the correct inversion is viiø . Further, if the chord is analyzed as an inversion of viiø7, the A in the right hand on beat 2 should be considered part of the chord. In any case, marking the A as an appoggiatura is incorrect, as this note is on a weak beat and appoggiaturas are by definition accented non-chord tones. An alternate analysis for this chord would be to name it as V , in which case the A becomes an incomplete neighbor tone. Measure 6: The inversion on beat 2 should be V and the circled D in the right hand should be considered a chord tone. Measure 7: The inversion on beat 2 should be I and the chord on beat 3 needs to be V7 to indicate the F. An alternate analysis of this measure would be to symbolize beat 2 as a cadential chord resolving to V7. Measures 11–16: Although the downbeat in each measure has a quarter rest in the left hand, it would be preferable to place the chord symbols under beat 1 to more accurately reflect the harmonic rhythm in this phrase. Measure 17: The chord symbol for V needs the figures to indicate the cadential on beat 1. Alternatively, beats 1 and 2 can be symbolized as I – V. Measure 20: The A in the right hand on beat 3 needs to be indicated either as an appoggiatura or in the chord symbol as V13.
Intermediate Harmony Examination: December 2014 continued 5. Structural Analysis: 14.5/15 a. All elements of this piece were correctly identified and full marks were awarded. b. All elements of this question were accurately completed and full marks were awarded. c. In measure 18, the harmony indicates the tonic chord of E minor, confirmed by the dominant seventh chord of E minor in measure 19. d. Both observations for this question were valid and full marks awarded. It might be preferable to refer to the left hand figuration in Section A3 as Alberti bass. Also note that in this section, the written-out repeat of each phrase contains an octave leap figuration in the right hand.
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