Music Theory I (MUT 1111) w Name:
Micah Mazzella
Due Monday, December 2
Add appropriate Roman numerals to the figures below. Then realize the progression below in
keyboard style. Add two levels of contextual analysis (T/PD/D labels). Finally, add an anticipation
(please circle and label it).
-
$$$$ 3 ·
! 4
####################
fAbc
G Bb Db
↑
$ 3
" $ $$ 4 % % % % % % % % %
CE6
################### &#'
E ii
6
4
3
6 i
6 6— 6
\
4— 4
2
iii
6 6 n
7
i +
T DT PDD TPD D T
T- PDDT
An excerpt from the beginning of Mozart’s Minuet No. 8 (K. 103) appears on the next page; the
score has been slightly condensed. Provide an analysis as outlined below. A recording has been
provided online.
• Locate any cadences and name them by type.
• Label the chords with appropriate Roman numerals and figures below the bass line;
you will have to determine the harmonic rhythm.
• Below the Roman numerals, add a contextual analysis (T/PD/D labels).
• On the score, clearly circle and label one example for each of the following
embellishing tones: neighboring tone
passing tone (is it accented or unaccented?)
• Comment on the harmonic rhythm: what happens in this excerpt, and is it typical?
The harmonic rhythm stays consistent throughout majority of the etude, changing once
at the beginning of each measure. The last measure changes and the harmonic ruytm
is new one every beat This is very typical
.
• On the grand staff below the score, provide a two-voice reduction of the excerpt that
shows how it is governed by the contrapuntal principles we have discussed this
semester. Your answer should show one primary melodic note and one primary bass
note per chord. (It’s fine to omit the anacrusis.)
• Does your reduction follow the rules of first-species counterpoint, or does it include
features that are acceptable in harmony-based composition (but not strict first-species
counterpoint)? Explain.
This reduction follows the rues of 1st seeces counterpoint.
