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Anthology questions

Chap. 1
Tonic triad
Chap. 2
Chap. 3
Dominant 7th
Chap. 4
Chap. 5
I 6/4
Chap. 6
1st inversion
Chap. 7
Chap. 8
V7 inversions
Chap. 9
Linear 6/4
Chap. 10
Chap. 11
Chap. 12
Chap. 13
Chap. 14
Chap. 15
All 7ths
Chap. 16
Chap. 17
V/V etc.
Chap. 18

Chapter 4

#26 Bergamasca - Scheidt

Listen - .mid

  1. 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!
  2. Determine the key and analyze the chords.
  3. 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!
  4. Look at the melody in m3-4. Can you find where this returns later in the piece? Is it still the melody?
  5. Where are the cadences? What type are they? What kind of phrase relationships are there?

#27 - Faschingsschwank aus Wien - Schumann

Listen - .mid

  1. What's faschingsschwank? Who is Schumann?
  2. Determine key, harmonic rhythm, roman numerals, non-chord tones, cadences, phrases.
  3. What are the phrase relationships?

#28 - Mazurka - Chopin

Listen - .mid

  1. What's a mazurka? Who is Chopin?
  2. Determine key, harmonic rhythm, roman numerals, non-chord tones, cadences, phrases.
    1. 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.
  3. What's up with the accidentals in m1? What kind of non-chord tones are they?
  4. Why is there a flat sign in m2? Isn't it already flat in the key signature?
  5. Cadences and phrases?