Chapter 4
Sub-dominant
#26 Bergamasca - Scheidt
Listen - .mid
- This is a four voice piece that exhibits a little more rhythmic
independence than a basic chorale harmonization. Try to figure
out what the harmonic rhythm is for this piece. Hint: it's not
one chord per beat!
- Determine the key and analyze the chords.
- Circle the notes that don't fit into the chords and label them
(PT or NT). Make sure that the notes you circle really don't fit
in the chords!
- Look at the melody in m3-4. Can you find where this returns
later in the piece? Is it still the melody?
- Where are the cadences? What type are they? What kind of phrase
relationships are there?
#27 - Faschingsschwank aus Wien - Schumann
Listen - .mid
- What's faschingsschwank? Who is Schumann?
- Determine key, harmonic rhythm, roman numerals, non-chord tones,
cadences, phrases.
- What are the phrase relationships?
#28 - Mazurka - Chopin
Listen - .mid
- What's a mazurka? Who is Chopin?
- Determine key, harmonic rhythm, roman numerals, non-chord tones,
cadences, phrases.
- Harmonic rhythm varies in this. Whenever you have an oom-pah-pah
accompaniment like this, use the first bass note as the bass
note for the entire measure. For instance, m1 is a tonic chord
for the whole measure.
- What's up with the accidentals in m1? What kind of non-chord
tones are they?
- Why is there a flat sign in m2? Isn't it already flat in the
key signature?
- Cadences and phrases?
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