Blokboek Jaar 1 Semester 1 ENG (1)

7/25/2019 Blokboek Jaar 1 Semester 1 ENG (1)

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Maastricht Academy of Music

Music Programme, Classical

Music Theory, Analysis

Course Book Unit Ia

First year of study, semester 1

Academic year 21!"21#

$ersion% &e't( 21!

)*er*ie+ of themes in the core curriculumThe curriculum is subdivided into units of subject matter that will be discussed(simultaneously) in Analysis ( AN) and Harmony ( HRM).



In total, there are 6 units of 17 wees each, s!read over three years of study . "ithinthis subdivision, the subjects fall into two cate#ories$ %ate#ory A, subjects concernin#form and structure and cate#ory &, subjects addressin# the musical material'

Year 1

I( eneral- introductoryA. Important concepts in thematic analysis and sentence structure.Various forms, such as ornamental variation, harmonic variation, ‘ostinato’variation and others.

B. Introduction to scales and series: pentatonics, hexatonics, diatonics.iscusses !asic techni"ues from traditional harmonic theory: connections oftriads in root position and #rst inversion as $ell as distin%uishin% and applyin%‘&rnamentations’: suspensions and retardations, passin% notes, auxiliary notesand anticipation.

II( .&e/uential0 forms- diatonics 2A. 'orms !ased on se"uential succession (movements are simply placed after one

another, either additional or contrastin%, $ithout a ‘development’). Importantforms are: rondo, minuet, scher*o, ‘ada%io forms’, am!i%uous forms, suite, son%forms (!inary+ternary) and derivations of these.

B. ‘Basic techni"ues’ from traditional harmonic theory are developed further:‘contrapuntal’ chords, modal mixture (e.%. !orro$in% from the minor), !asicsecondary dominants and modulations.

Year III( &onata- chromatics 1A. -hematic dialectics in the ‘sonata form’ principles ‘locer ’ and ‘fest /inear

analysis.B. /eadin% notes alterations chromatic and enharmonic modulations chainstructures.

I$ Fugue3 e4tension of tonality- chromaticism 2A. 'u%al formsB. iscusses ho$ the techni"ues a!ove (chromaticism) lead to:

1) 'loatin% tonality (culmination$ abundance of leadin# notes, modulations)) 0onfunctional connections (reaction$ *ettin# rid of the #lue, avoidin#leadin# notes, dealin# with sevenths freely, etc')2) ‘3r$eiterte’ tonality (alternative$ e+tendin#, stretchin# the tonality')

Year 2

$( T+entieth century techni/ues% di*ided into 5 lines of de*elo'mentA. -he structural role of the four parameters aleatoric music determinacy versus

indeterminacy ‘open’ forms variation as a motive, style as a motive etc.B. Alternative series, ‘tropes’, serial techni"ues 4essiaen series system of axes

!itonality octatonics cluster techni"ues, etc.

$I Analysis and 6esearch skills in T+entieth Century com'ositiontechni/ues

Individual pro5ect. 6esearch into and analysis of a composition of the t$entieth7entury, $hich results in a paper and a presentation containin% live playedmusical fra%ments.

2



Content

1( &tudy /uestions and research for Analysis((((((((((((((((((((((((((((((((((((72( 8ist of o'tions for 'resentations%((((((((((((((((((((((((((((((((((((((((((((((((52

5( Practice test(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((55

7( Methodical structure(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((5!

3



1( &tudy /uestions and research for Analysis(

Please note: The examples mentioned in the questions have only

been added partially. I you !annot "nd an example# you $ill have to

loo% it up in the library.

8esson 1 8ecture

Introduction to Unit 1 eneral

!ace for notes$

8esson 2

8tructure: Material " &tructure " Form " Moti*e " Theme

-+am!le$

M( 6a*el 19:!"1;5!% Ma mere l&oye &'a belle au bois dormant&

1;9 track 1

4



8ee next pa%e9

5



1a( hich notes did the composer use in the example; rite them do$n.1<( Are there important and less important notes; -hin< of ar%uments to

explain $hy some notes are more or less important than others.

2( hich notes $ould you choose if you $ould have this piece played only !y a

clarinet and a !assoon; =rite them do$n and e4'lain your choice.

5( =o$ are the notes ordered; escri!e per !ar ho$ the composer !uilt up the

main melody of <ar 1"9.

6



7( 8ome !ars are derived from other !ars. rite do$n only the ‘source’ of

these (at least >) hich of these ‘sources’ is the most important; -he ‘sources’

are called motives.

!( Are the various motives used in a contrastin% $ay; ?lease explain.

7onsult literature for "uestions @ and .

#( hat is a theme; ive a description.

:( hat is a motif;

9( hat is the diCerence !et$een a theme and a motive;

;( hat is the theme in the example of 6avel;

4aterial:

-+am!le$

C( >e<ussy 19#2"1;19% Prelude no( 2 .(oiles& ?rst 'age track 2

1( /isten to the example and loo< at the score. rite do$n the scale + series

of this piece. ive it a name.

11( =o$ often can you transpose this series $ithout %ettin% the same notes

(Dsound); rite do$n the transpositions.

12( hich notes and $hich intervals does the composer ma<e important; =o$does he do that;

7



8



8esson 5

8tructure: Finding &entences

-+am!les:

F( &chu<ert 1:;:"1929% *ie +r,he& from *ie -interreise

192:

A( >*orak 1971"1;7% &ym'hony no( ; . Aus der neuen -elt&

19;5

8argo- <ar :"19

8( *an Beetho*en 1::"192:% &onatina )'( :; Presto alla tedesca-

<ar 1"!

1( /isten to the examples. 0o$ sin% or play the %iven examples and indicate

$here you $ould !reathe. (?lease note $ith 8chu!ert: the piano part also

participates99)

2( ith each example, indicate $hy you too< a !reath at certain points (exceptfor: EI $as out of !reathF).

5( hich motives (‘sources’) can you #nd in the vora< example; rite them

do$n.

7( escri!e ho$ the composer uses the motives.

!( etermine the <ey: 8chu!ert !ar 11G, !ar 112, !ar H2G

Beethoven !ar 1, !ar >G>, !ar JJH, !ar @HH

4aterial:

-+am!les$

B( Bartok 1991"1;7!% .Mi%ro%osmos0 'art no( :9 track #% %5:"

1%5

B( Bartok 1991"1;7!% .Mi%ro%osmos& 'art I$ no( 1!

9



#( /oo< at the examples. rite do$n the scales + series of every part. ive

them a name.

:( 'ind information on this scale + series.

10



8esson 7

8tructure: @aming sentences

-+am!les$

=( A( Moart 1:!#"1:;1% Piano &onata in B at maor D$

555 Allegretto graioso

M( 6a*el 19:!"1;5:% Ma mere l&oye 'a belle au bois

dormant& 1;9

F( Mendelssohn 19;"197:% &ym'hony no( 7 in A maor

.Italienis!he0 195231955

'art II Andante con moto

11



@( 6imsky"Dorsako+ 1977"1;9% /hehera0ade &ym'honic &uite )'us

5! 1999

*er 1un2e Prin0 und die 1un2e Prin0essin,Andantino /uasi allegretto

=( A( Moart 1:!#"1:;1% +r3nun2smesse D$ 51: 1::;

A2nus *ei

1( /isten to the #rst examples and have a loo< at them. escri!e the shape

of the sentences and their characteristics.

These s'eci?c sentences occur *ery often, as do the com<inations of

and the *ariations on these sentences( It is a misunderstanding to

think that e*ery sentence has to ha*e this s'eci?c sha'e( It can also

ha*e a com'letely diEerent nameless form(

2( hat are the diCerences !et$een the t$o forms;

5( /isten to the other examples, have a loo< at them and name them if

possi!le. 3xplain your ans$er9

7( After this lesson, ma<e your o$n examples of !oth possi!le sentence

structures they have to !e !ars lon%. Both sentences have to start as

follo$s:

12



!( escri!e the use of motives in the 6ims<yKorsa<o$ example.

4aterial:

-+am!le

B( Bartok 1991"1;7!% from Mi%ro%osmos 'art I$ 1;5:

no( 1;

#( -he composer used a scale + series in the example. rite this series do$n.

ive it a name.

:( =o$ often can you transpose this series $ithout %ettin% the exact same

notes (Dsound); rite do$n the transpositions.

9( /oo< for information a!out this scale + series.

13



8esson !

8tructure: >etermining the relationshi's <et+een the sentences

-+am!le$

G( Haydn 1:52"19; &ym'hony no( ;7 in maor .Mit dem

Pau%ens!hla2& 1:;1

'art II Andante C> track 1

1( ivide !ar 12 into sentences.

2( escri!e the relationship !et$een the sentences found. 8tate similarities

and diCerences.

5( /isten to !ar 22@> and have a %ood loo<. ivide these !ars into sentences

and descri!e their relationship to <ar 1"52.

7( /isten to !ar @JH and have a %ood loo<. ivide these !ars into sentences

and descri!e their relationship to <ar 1"52.

4aterial: &ymmetric di*ision of the octa*e

-+am!le$

H( Gelinek 1;1"1;#;% )'us 1! 'art II no( I$ 4esan2li!h

!( /isten to the example and have a %ood loo< at it. hich series is used here;

#( Indicate the sentences of this piece.

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15



8esson #

8tructure: The methodology of +riting do+n the relationshi's

<et+een the sentences 8etter names

-+am!le$

G( &( Bach 1#9!"1:!% 5rom: /e!hs %leine Pr,ludien 6r An,n2er

Prelude nr 5 in d minor track 11

1( hat is the smallest musical unit in this piece;

2( escri!e ho$ this motive is constructed.

5( escri!e ho$ the composer uses the motive of !ar 1 to >.

7( hat are the accompanyin% motives;

!( Indicate the sentences in !ar 1 to > and %ive them names (letters).

78. Also indicate the sentences in bar ./ to 0 and #ive them names (letters)')

4aterial: from Pentatonics to >iatonics

-+am!le$

regorian loria from Missa $III

:( 7ompare a pentatonic series $ith a ma5or or minor scale. 0o$ chan%e a

pentatonic series into a ma5or scale. hat do you notice;

9( /oo< at the melody (D top part) of the example and play + sin% it. hich

series or scale does this re%orian melody use;

16



Attachment I

)*er*ie+ of 'o'ular techni/ues a''lied to a motif

&e/uence: 6epetition of a motif a certain interval hi%her or lo$er.

(4o*art: KrLnun%smesse: A%nus ei)

$ariation: 6e'etition of a motif $ith little chan%es. (/en%th and main

tones

usually remain the same.)

(6ims<yKorsa<ov: 8hehera*ade)

>e*elo'ment: A !i%%er chan%e of a motif as a result somethin% ne$emer%es from the

development. (/en%th and main tones usually chan%e.)

(M.8. Bach prelude in d minor !ar 1H

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In*ersion: 6epetition of a motif, in $hich every interval remains the

same, !ut the

direction chan%es.

(M.8. Bach: Inventie nr. 1)trai#ht movement Inversion

4tension: -ones are added to the motif. -his can !e at the end, middle

and

!e%innin% of the motif.

(Meline<: opus 1J deel I nr. , maat 2 en maat G1)

&hortening: A part of the motif is left out. -his can !e at the end,

middle and

!e%innin% of the motif.

(Meline<: opus 1J deel I nr. )shorter shorter

Augmentation: 6epetition of a motif in t$o (three or even four) times !i%%er

values.

(M.8. Bach: 'u%a in e Nat minor)

>iminution: 6epetition of a motif in t$o (three or even four) times

smaller

values.

18



(-hema van M.8 Bach: 'u%a in e Nat minor, diminution !y I. ?.)

19



Attachment II 4cercises of Phrasing &tructure

>escri<e the 'hrasing structures of the follo+ing e4am'les( 4'lain

your ans+er(

1. 7.4. von e!er: &uverture ‘&!eron’

. M. Brahms: =aydnvariaties opus J@

2. .A. 4o*art: ?ianoconcert KV >H1

>. /. van Beethoven: 8ymfonie nr. 2

20



21



8esson :

Introduction $ariation Techni/ues

-+am!le$

M. =aydn (121GH): ?iano trio nr. 2H in Oypsy’ =o!. PV+J deel 1

Andante

2outube$ Haydn 3iano Trio *i!sy, 1 mvt 4 3into45ibeiro,

amouil, *rimm 4 %H

1( In $hich !ars can you #nd the -heme;

2( hat is the structure of the -heme;

5( hich tonalities can you #nd in the -heme;

7( 0um!er the harmonies of the cadences.

!( =o$ many Variations can you #nd;

#( Is there a 7oda;

:( 7ircle the -heme notes in the Variations.

9( escri!e the most important diCerences !et$een -heme and Variations.

22



23



8esson 9

8tructure:

)rnamental *ariations and Figuration $ariations

-+am!les$

.A. 4o*art (1J@1H1): 1 Variationen (1) Q!er ‘Ah9 Vous dirai

5e, 4aman’ KV @J $ariation I

24



/. van Beethoven (1G1): 1 8ariationen (179.) :ber -s war einmal

ein alter ;ann aus der <!er$ =as rote

25



>?!!chen von ittersdorf "o< 66

8ariation 1

('irst consider $hich elements in music can !e chan%ed+ varied !y a

composer;)

1( Indicate the notes of the theme in the variation !y usin% a colour.

2( hat has chan%ed $ith re%ard to the theme;

- +am!le$

/. van Beethoven (1G1): 2 8ariationen in c minor o& G,

$ariation I

8ee next pa%e9

26



27



5( 'irst descri!e the form of the theme in ’2 Variationen’.

7( hich theme notes are reco%ni*a!le in the variations of !oth examples;

!( escri!e the chan%es re%ardin% the theme in !oth examples.

4aterial:

Triads in *arious in*ersions

-+am!le$

'. /is*t (1111@): @un danet alle *ott

8ee next pa%e9

28



29



#( In $hich <ey is the example $ritten; Indicate the modulations in the $hole

piece.

:( -he real !ass melody is called ‘&asse continue’ !y 6ameau (1@21@>). =ecalls the harmonic !ass ‘&asse fondamentale’. -he &asse fondamentale is the

root note of every de%ree, re%ardless of the inversion. rite the &asse

fondamentale !elo$ the example, in notes, and investi%ate the diCerence

$ith the &asse continue.

9( Indicate $here you can hear + see triads in root position and triads in #rst

inversion(@) in <ars 1": and 1!"21. 0um!er these de%rees.

;( hat is the function (-onic, ominant, 8u!dominant) of the second chord in

!ar ;

4aterial:

&e*enth chords

- +am!le$

M.8. Bach (1@J1JG): 7horale: u riedef:rst Herr Besu %hrist

1( rite do$n the Basse 'ondamentale in notes !elo$ the example.

11( 0ame the de%rees and the inversions in the example

12( hat <ind of chords did you come across; (3.%. 4a5or triad, etc.)

(hich chords are dissonant chords; hy are they dissonant;)

30



31



8esson ;

8tructure

Harmonic *ariations

-+am!le$

.A. 4o*art (1J@1H1): 9 8ariationen :ber ein ;enuett von u!ort

(?otsdam 1H) KV J2 Theme and $ariation II

1( escri!e the form of the -heme.

2( 0um!er the harmonies of the -heme $ith de%rees.

5( hat do you reco%ni*e of the theme in $ariation II;

7( hat are the chan%es re%ardin% the theme; (Also pay attention to

harmonies9)

4aterial

Cadences

-+am!le$

I.M. ?leyel (1J121): 8onatina in ma5or

com'letely

32



33



!( hat is a cadence and $hat is its function in music; 7an seventh chords

also !e used in a cadence;

#( =o$ is the endin% of a phrase constructed in the example; rite do$n the

de%rees.

:( hat types of cadences do you reco%ni*e;

8esson 1

8tructure:

)stinato *ariations

-+am!les$

M. ?achel!el (1@J21G@: 7anon in ma5or

trac $ Academy of t, ;artin4in4the4ields,ir @eville ;arriner

4. 6avel (1J1H2): Bolero (!allet 1H)

trac 0$ <rchestre @ational de rance, -liahu

Inbal

.'. =Rndel (1@J1JH): 7haconne in

B. Barto< (111H>J): 'rom 4i<ro<osmos part 2 8on% of the 'ox HJB

1( hat is an ostinato; hat types are there;

2( rite do$n the ostinato of the example: 6avel and ?achel!el from

hearin%, as a dictation.

=Rndel and Barto< from the score.

34



5( =o$ is each repetition of the ostinato varied; /oo< at the example of

=Rndel, variation I to IV, and Barto< no( ;!B.

4aterial:

Passing notes J au4iliary notes neigh<our notes

-+am!le$

!( 0ame the de%rees and the inversions in the example.

#( etermine, $hich notes do not !elon% to a chord and are thus also

melodi*ations.

:( BrieNy descri!e the movements of these notes and their positions. (hen

doin% this, as< yourself $here they come from and $here they %o.)

35



4aterial:

&us'ensions3 retardations " Antici'ations

-+am!le$

9( Analyse the harmonies of the example and indicate the passin% notes and

the auxiliaries.

;( etermine, $hich other notes do not !elon% to a chord and are thus also

melodi*ations. BrieNy descri!e the movements of these notes and their

positions.

36



8esson 11"12"15"17

Presentations(

• 3ach student $ill present his or her o$n piece (-heme and Variations) in

max. G minutes.

• 7hoose a piece from the list or ma<e your o$n su%%estion $ith the

teacher.

• If the chosen piece has more than four variations, you $ill choose

several variations in concurrence $ith your teacher.

• 4a<e enou%h copies, so that everyone can follo$ your presentation. -hin< of !ar num!ers and short notes, perhaps in color.

• Analy*e the Theme.o 'ind the phrases and %ive them letter names.o iscuss phrasin% structure, possi!le ?eriods or evelopment

structures, and the character.o 4ention and descri!e the main 4otive(s) explain ho$ it is used in

the -heme.

• 'ind the tonality(ies) and num!er all the harmonies in the Theme.

• ?lay the cadences of the Theme !y heart on the piano. It is not allo$ed

to !rin% the score or sheet paper to the piano, only the de%rees may

serve as memory support.

• Al$ays circle in the $ariations the reco%ni*a!le notes of the -heme.

• iscuss all the diCerences in the $ariations in comparison to the

-heme. &rder them from important to less important9 If possi!le %ive the

variation techni"ue a name.

• 'inally try to descri!e the development of all the variations in the $hole

piece. 'or 3xample: oes the rhythm seem to %o faster;

" To illustrate your analysis, you +ill 'lay 'arts of the 'iece yourself(

37



38



8esson 17

8tructure:

&ummary and 6e'etition% Practice Test

4aterial:

&ynthesis

- +am!le$

M.8. Bach (1@J1JG): 7horale no. @ ‘eelenbr?uti#am Bar 1"!

1( 0ame the de%rees, inversions and ornamental notes (pas, nei%h!., sus, ant)

in this chorale.

39



2( 8ist of o'tions for 'resentations%

Com'ositions Main &u<ect

M.8. Bach: ?artita in d minor: 7haconne for violin soloold!er%variations for piano

.'. =Rndel: 8uite no. J in 3 ma5or (piano): Air and Variations

M. =aydn: ?iano trio in c <lein =o!: PV: 12 Andante?iano trio in A %root =o!. PV: J ‘ypsy’ AndanteVariaties voor piano in f <lein

.A. 4o*art: 8ie!en Variationen Q!er ‘illem van 0assau’ KV JS$Llf Variationen Q!er O/a !elle 'ranToise’ KV 2J28echs Variationen Q!er O8alve, tu omine’ KV 2H

0eun Variationen Q!er ein 4enuett von uport KV J2

/. van Beethoven: rom$ er unbeannte &eethoven$ 8olslied48ariationen f:rlavier Boo< I: no. 2 Air Autrichien =A ch:sserl und a5eindel

Boo< II: no. 2 Air de la !etite 5ussieBoo< III: no. Air 5usse

'rom: 8ariationen f:r >lavier &and IIechs leichte 8ariationen in ma5or o& @eun 8ariationen o& @2

8onata nr 1 in ma5or &p. 1 no. 1 for violin and piano

?art : Tema con variaCione@ Variations on 6uinen von Athen op.@1 Variations for cello U piano on a theme of =Rndel1 Variations for cello U piano on ‘3in 4Rdchen oder

$ei!chen’ Variations for cello U piano on ‘Bei 4Rnnern $elche /ie!e

fQhlen

'. 8chu!ert: (Introductie en)Variaties voor Nuit en piano: ‘-roc<neBlumen’

8tri5<<$artet in d <lein 1G ‘er -od und das 4Rdchen’Andante

8. 6AchmaninoC: Variations on a -heme !y 7orelli op.> for piano.

'. Sipp: & du lie!er Au%ustin (Variations in the style of)core in libraryD

. Ka!ale$s<y: 8ept Variations sur un -heme ?opulaire W<rainien &p. J1. no.>

8ix Variations sur un 7hant ?opulaire W<rainien &p. J1. no. J

B. Britten: &rchestra variations

Very early forms of variation:

40



&r%an and lute music from 8pain, socalled iEerencias. 7omposer: 0arvae* Vir%inal music from 3n%land, e.%. socalled rounds. 7omposers: illiam Byrd, .'arna!y, -homas 4orley, Mohn Bull. -he last named $rote alsin%hamvariations,amon% others.

Particularly search for your o+n instrument in the literatureK There aremany *ariation forms to <e found, es'ecially in the classical 'eriod( Co'y'ro'osals and sho+ them to your teacherK

5( Practice test(

0ame: XXXXXXXXXXXXXXXXXXXXXXXXXXXX

/ecturer -A: XXXXXXXXXXXXXXXXXXXXXXXX

=(A( Moart ( 9on!erto in ! minor or piano and or!hestra +.(. ;<

1( 'ind the overall structure in this Alle%retto. Indicate the -heme and the

Variations.

2( Is there a 7oda; 3xplain.

5( /oo< at !ar 11@:

a) Indicate the tonality (or tonalities) in the score.!) Indicate the most important motives $ith a s"uare.

c) 3xplain ho$ these motives are used and developed in !ar [email protected]) escri!e the phrase structure. 3xplain.e) Indicate the cadences in the correct tonality. ive the 6oman num!ers

and the name of the cadence.

7( 7ompare !ar 11@ to 12. Indicate the most important similarities and

diCerences. (also !y circlin% notes)

!( /isten and loo< at !ar 22>.

a) hat happens to the form;

!) hat happens to the instrumentation;c) hich variation techni"ue do you reco%nise in the piano part;

#( hich variation techni"ue do you reco%nise in !ar @J2; 3xplain and

demonstrate in the score.

:( hich composition techni"ue do you reco%nise in !ar 1H12@;

9. 4ention the three most important chan%es in !ar 1@J1.

41



B( Bartok% Mi%ro%osmos no( #1

;( Indicate the main motive and the accompanyin% motive.

1( escri!e the development of the main motive in !ar 11 and 12.

11( hich note material does the composer use in the ri%ht hand of !ar 11@;

15( hich tone material is used in the various phrases in the fra%ment !elo$;

4otivate your ans$er. -he tonic is (mostly) d.

42



43



7( Methodical structure

• Unit o<ecti*es for Analysis

7oncepts such as motive, development of motives, sentence structure,cadence and polyphony are explained, $hich %ives you insi%ht into musical

processes. You deal $ith musical structures and formin% principles. In

structural analysis, also the diCerent variation techni"ues $ill !e dealt $ith,

e.%. ornamental variation, ostinato variation, #%uration and harmonic variation.

Apart from this introduction into structural analysis, Analysis also %ives an

introduction into material analysis. 7oncepts such as diatonics, pentatonics

and modality are explained and various scales and series are discussed and

named systematically. -his provides you $ith an insi%ht into the order of the

harmonic and melodic material that forms the foundation for music in all <indsof styles. iatonics in material analysis $ill !e follo$ed !y the usa%e of sept

chords, various types of cadences and !y ornamentations li<e passin% notes

and nei%h!our notes.

*aluations and Tests

3valuation of this su!5ect contains t$o elements:

Presentation 7$ee% = t>m ?< @<?) -his is an analysis of a chosen composition, $hich $ill !e presented for

the class usin% live played musical fra%ments. -he presentation lasts

max. G min. -he analysis contains elements that have !een discussed

in the lessons and the teacher $ill %rade it $ith a num!er !et$een 1 and

1G. -he $ei%ht of this %rade is 1.

-ritten Test 7$ee% B: Tuesday <; Canuary @<8 rom <8. till

<=. h)

At the end of the semester there $ill !e a $ritten test a!out the topics of this course unit. -he student must sho$ his a!ility to analyse a %iven

composition and he needs to use the proper terminolo%y $ritin% his

ans$ers. -he teacher $ill %rade the test $ith a num!er !et$een 1 and

1G. -he $ei%ht of this %rade is .

44



Dno+ledge and skills +e +ill ha*e mastered afterthis unit%

6eco%nisin% and descri!in% motives in musical literature.

8tudyin% the structure and relationships of sentences from literature

Bein% a!le to name scales and ro$s from literature

• istin%uishin% and descri!in% the various variation techni"ues in several

styles.

• 'urther extension of harmonic analysis:o

-he use of chords, seventh chords, their inversionso ?assin% notes, nei%h!our notes, suspensions and anticipations

o 8everal types of cadences

Blokboek Jaar 1 Semester 1 ENG (1)

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