Symphonic Hearing: Listening As Active Participation Daniel B. Stevens ([email protected]) University of Delaware

Society for Music Theory, Thirty-Sixth Annual Meeting Charlotte, NC November 1, 2013

Example 1 The Do-Ti Test Handout This handout is designed for freshmen Aural Skills courses. Employing the Do-Ti Test, students learn from the beginning of their studies how to actively participate in the listening process. This listening technique allows students to quickly and accurately grasp the function of a harmony while avoiding errors caused by outer-voice pitch misidentification.

-Do or Ti? or, -Is Do consonant or dissonant?

The Do-Ti Test

-Quality? -Function? -What notes do I hear?

r?

c?

ni To

Ti?

Di

=V

m.

?

M ino

=v

r?

ii

Fa, La, Do?

=ii

Un

stab

le?

=ii

Re (confirm)?

-Do I hear a seventh (or second)?

Do=I Mi=I6 Sol=V6/4 or I6/4

La=vi Do=vi6

(in

(Pass this step.)

v.)

Fa (confirm), La, or Do?

Sol, Ti, Re, Fa?

o

(Pass this step.)

Passing I6/4

Cad. V6/4

IV I6/4 IV6

Fa=IV La=IV6 Do=IV6/4

I IV6/4 I

Re=ii, ii7

Can I distinguish any idiomatic progressions?

Neigh. IV6/4

Re (confirm), Ti, Fa, Le?

Fa=ii6, ii6/5 La=4/3 Do=4/2 Sol=V, V7 Ti=6/3, 6/5 Re=6/4, 4/3 Fa=4/2 Ti=viio, vii o 7 Re=6/3, 6/5 Fa=6/4, 4/3 Le=4/2

i (Pass this step.) Daniel B. Stevens ([email protected]) University of Delaware

V6/4-5/3 I

(See progressions by stars.)

=ii

DISCLAIMER: Though this mode of thought is presented in a linear fashion, you will later find that the different stages presented here occur (as they should!) all at once.

La, Do?

ab

Minor?

Ma

or?

=vi

-Which note is in the bass? Do, Mi, Sol?

le?

t r-S

jo Ma

Dom. Prep.?

Maj

=I

=IV

Not sure? Try the “Do-Mi-Sol” test.

jor-

Example 2 (on the reverse) Phrase Model Handout During the freshmen year, students memorize all tonic-expanding idioms. Understood as the smallest meaningful harmonic unit, these idioms are grouped according to their bass patterns as well as by their Do-Ti “thumbprints” and contrapuntal structures.

Major?

Mino

[major key version]

Do?

-Quality? -Notes?

Mi (confirm), Sol?

Mi=iii Sol=iii6

I V6/4 I6

Passing V6/4

I V4/3 I6

Passing V4/3

Passing o vii 6 I viio6 I6

Daniel B. Stevens ([email protected]) University of Delaware

so you want to write a chord progression? (aka the Phrase Model Handout)

? ˙

I6

I

œ & œœ œœœ ˙˙ 6 6

? œ œ ˙ I

V4 I

& œœœ œœœ ˙˙˙ I

4

V3 I

6

? œ œ ˙ œ œ*) ˙ & œœ œœ ˙˙ I

4 V3

I

6

? œ œ ˙ œ œ & œœ œœ ˙˙ 6

6

? œ œ ˙ I viio I

& œœœ bœœœ ˙˙˙ 6

I viio 5 I

? œ œ ˙

6

I

o

? œ œ ˙

˙

5 Type [1a]

6 IV4

Type [1c]

œ œ ˙ & œœ œ ˙˙

œ & œœ œœœ ˙˙

V42 I 6

? œ œ œ & œœ bœœœ I

? œ œ & œœ I

4 viio 3

œ œœ œ

˙ ˙˙ ˙

I6

˙ ˙˙ ˙

? œ œ ˙ I

IV

I6

œ œ˙ & œœbœœ ˙˙ 8 - 7 - 8 - 6 - 5 3 - 4 - 3

I5

? œ œ˙ œ œœ œœ œ œ œ œ œ & œœ œ œ œœ œœ œœ œœ œœ 4 2

6 5

? œI iiœ V œI œ

vi I 6

Type [1b]˙

œ œ ˙

& œ˙˙ œ I5 - 6 ? ˙

I

8 - 8 - 7 - 8 5 - 6 - 5 - 5 3 - 4 - 4 - 3

œ œ œœ

NOTES:

1) These tonic expansions may be chained together, embedded into one another, segmented to produce a linear bass/melody, and expanded by parenthetical insertions. 2) When choosing harmonic progressions not covered by these expansions, try to use one of the following strong progressions: down a 5th, down a 4th, down a 3rd, up a 2nd (and use your ear!). *) This is one instance where a chordal 7th resolves up. KEY: V.E.=Voice Exchange = progression works only as ordered. (All others work in reverse as well.) P/IAC=Perfect or Imperfect Authentic Cadence. HC=Half Cadence EC=Evaded Cadence

6

V I

I

I

Contrapuntal Expansions

I IV6 I 6

? œ œ ˙

I ct

4 2

Type [3a]

And a sampling of...

? œ œ ˙ œ œ ˙ & œœ œœ ˙˙ I

œ œ ˙ & œœ œ ˙˙

[2b]

œœ #œœ ˙˙ œ# œ ˙

4 Fifth-related bass œ œ ˙ & œœ œœ ˙˙

? œ œ ˙ I

V I

? œ œ & œœ

œ ˙ œœ ˙˙ œ ˙

6 V5

? œ œ œ œœ & œœ bœ I

o7

I vii

I

˙

˙˙ ˙

? œ œ ˙ I

[3c, cont.] Inversions of Pedal bass:

Type [4a]

œ œ ˙ & œœ œœ ˙˙ I V I ? œ œ ˙ 7

Type [4b]

œ œ ˙ & œœ œœ ˙˙ I IV I

? œ ˙ œ

[3b]

œœ œœ ˙˙ œ œ ˙ 6 I

V4 I

œ œ ˙

œœ œ ˙˙ œ œœ ˙ 6

or:

I viio I

œ œ ˙

I

œœ œœ ˙˙ œ6 œ 4 ˙ I V2 I 6 œ œ ˙

I

œ œ ˙

œœ bœœ ˙˙ œ œ ˙

œœ bœœ ˙˙ œ6 œ 4 ˙ I vii 3 I 6 œ œ ˙

o6

[1a-IV]

o

I vii 5 I

œ œ ˙

œœ #œœœ ˙˙ ˙ œ

& œœœ œœœ ˙˙˙ I 6 IV I 6 ? œ œ ˙

I 6 cto7 I 6

œ #œ ˙

˙ & ˙˙

Tonic Bass Arpeggio

˙˙ ˙

w w w V w

I6

I

? ˙

˙

)

Subdominant Bass Arpeggio

˙ ˙ & ˙˙ ˙˙ I

[1a-ii]

[3c]

œœ œœ ˙˙ œ œ ˙ 4 V3

Non-tonic Expansions

vi

? ˙ ˙

˙˙ ˙

IV

˙

˙˙˙

V

˙

[1a-V]

[1a-V]

[2a-V]

[2b-V]

œ œ & œœ œœ ˙˙˙ 6

6

? œ œ ˙ ii

I

ii

& œœœ œœœ ˙˙ 6 6 ? IV I4 IV œ œ ˙

& œœœ œœœ ˙˙ 6 6 ? V IV V œ œ ˙ & œœœ œœœ ˙˙ ˙

?

6

V ii4 V6

œ & œœœ ? V œ

œ œœ œ

˙

˙˙ ˙

6 I4 V

œ ˙

Dom. Prep. & ˙˙˙

?

V ct 2 V

œ œ ˙

NB: Non-tonic chords may also be expanded using secondary/applied V’s by following the tonic-expanding voice-leading models given to the left.

˙ & ˙˙

6

6

? ˙

#˙

& ˙˙˙

˙˙ ˙˙ ˙ ˙7 7

IV or: IV viio/V

& ˙˙˙ ii

? ˙

& ˙˙˙

˙ #˙ ˙ #˙˙

? ˙

I

w

w w w I

w

˙˙ ˙˙ ˙ ˙ 6 - 5 V4 - 3 w

w w w

˙

I

V

#˙˙˙

w

w w w

˙˙˙ ˙

I

V7

w

˙˙ ˙˙ ˙ ˙

w w w

6 - 5

w

I

V 4 - 3

˙˙˙

6

˙

IV or: ii(5)

˙˙ ˙ ˙

V

I

w w w w

˙˙ ˙

˙

ii

? ˙ ˙ & ˙˙

w w w

˙

or: V/V

˙

˙˙ ˙ V ˙

V8 - 7

ii7 or: V7/V

? ˙ ˙ & ˙˙

I

˙˙ œœ

˙˙˙

ii(5) or: V(5)/V

? ˙

& œœœ##œœœ ˙˙˙ o4

? ˙

V

Stop on I Stop on V for HC. for PAC or IAC. (or vi/I 6/? for EC)

IV

Fa - Sol - Do bass line

I

œ œ ˙ & œœ œœ ˙˙

Type [2a]

3 Neighbor bass

Re - Sol - Do bass line

˙˙ V.E. ˙ & ˙ ˙˙

Pedal bass

)

2

Fa - Sol - La or: Fa - Sol - Mi

Tonic Expansions 1 Do-Mi bass

cadence

w w w vi w

w

w ww

Two EC options: or: I6

w

Example 3 Applied Chords + Resolution Guide-Tone [GT] Patterns

a. Applied Dominants in Major Keys: Di

Re (Do)

& ˙ ˙˙ # ˙˙ ˙ ? ˙ ˙ 7

V

ii

Ti

& # ˙˙ ˙ ? ˙ 7

V

Ti

Do Do (Te La)

˙˙ ˙ ˙

& b˙˙ ˙ ? ˙

˙˙ ˙ ˙

iii

V

IV

7

Do

Ti

& #˙˙˙ ? ˙

˙˙ ˙ ˙

7

V

Ti

Do

& #˙˙˙ ˙˙˙ ? ˙ ˙ 7

V

V

vi

b. Applied Dominants in Minor Keys: Te

Te

& ˙ ˙ ˙˙ ˙˙ ? ˙ ˙ 7

V

III

Do Do (Te Le)

& ˙ ˙˙ # ˙˙ ˙ ? ˙ ˙ 7

V

iv

Do

& # ˙˙ ˙ ? ˙ 7

V

Ti

Ra

#˙˙ ˙ ˙

& b˙˙ ˙ ? ˙

˙˙ ˙ ˙

V

VI

7

V

Do

Do

Te

7

viio ii

& #˙˙˙ ˙˙˙ ? 7 #˙ ˙ 7

viio iii

& bb˙˙˙ ˙˙˙ ?7 ˙ ˙

7

V

7

viio IV

b˙ & ˙˙ ˙˙˙

7

7

7

viio V

b.

? #˙ ˙ 7

o

vii vi

c.

opt.

œ œœœ ˙ ˙ œ œ œœ & g.

I

IV opt.

& ˙ bœ œ œ œ n œ œ 7

V

IV

h.

œ˙ (7)

d.

opt.

˙ œ œ œ œ œ (#) œ

e.

( ) V

V or viio

˙œ ˙

ii

˙œ œ œ ˙ #

mod to

V*/V

V:

*or: vii o

œ

V

˙

b ˙ & b bb E:

I

œ

œ

viio

nœ

#˙ b ˙ ˙ ˙ œ œ ˙ bœ œ

k.

œ

V*/vi or: III #

I

V

[type 5 cont. exp.]

œ b˙ ˙

ii

œnœ œ

V V

˙ œ ( ˙)

(6 - 5) 4-3

7

IV I or: V/ii i. j. Fi=Ti œ #œ œ#

In 2-vc. counterpoint,

f. to avoid a doubled LT: œ

V*/ii

l.

bII

m. Example GT analysis of Chopin’s Nocturne in E b Major, Op. 9, no. 2, mm. 1–4

˙

vi

œ nœ

˙œ

+6

It

+6

Fr

˙

( ) o vii V4 - 3

+6

Gr

˙ I

(P)

VII

˙˙˙ ˙˙ ˙ &

? #˙ ˙

opt.

& #˙˙˙ ˙˙˙ ? ˙ ˙

c. Applied Leading-Tone Chords in Major Keys. With o7, provisional analysis is encouraged, with privilege given to the viio7/V (GT=Do) and the diatonic viio7 (GT=Ti). Di Re Do Ti Ra Do Do Ti Ti Do

& b˙˙˙ ˙˙˙ ? 7 #˙ ˙

a.

Example 5 Diatonic Modulations to Closely-Related Keys Modulation from C Major F d

C a

Modulation from A Minor

G e

Do + Major = F Major (IV) Do + Minor = A Minor (vi) Ti + Major = G Major (V) Ti + Minor = E Minor (iii) Re = D Minor (ii)

{

Students who have gained the competency of distinguishing secondary from diatonic chords may benefit from learning the following GT patterns that characterize secondary applied chords and their normal resolutions. Singing the GT also helps students hear through applied chords to their resolution.

Example 4 GT Figurations for Common Major-key Diatonic and Chromatic Chords

{

Hearing an original GT and new mode enables students to quickly identify the modulation.

d F

a C

e G

Do + Minor = D Minor (iv) Do + Major = F Major (VI) Te + Minor = E Minor (v) Te + Major = C Major (III) if Te=Sol Te + Major = G Major (VII) if Te=Do

Example 6 Tiered Exercises for Small-Group Phrase-Length Improvisation and Analysis

In these examples, group members begin on a tonic triad (bass, guide tone, and optional upper voice). The bass voice (1) is the “leader” and changes first, the guide tone (2) changes second, and the optional third voice (3) moves to a plausible upper-voice chord tone. The optional third voice can be sung by a third person or played on the piano by the person singing the bass or GT. The bass voice generally controls the direction of the phrase, although the GT voice can sometimes create dissonances that require (“bind”) the pair to resolve in a particular manner. All voices must keep harmony and counterpoint in balance throughout each exercise. These exercises are directed toward being able to perform “bass + GT profiles” of phrases drawn from the repertoire.

a. Realizing the Notated Rhythms for Improvisations with Two and Three Voices Two-voice Notation: (2) GT

& w

(1)

? w

LEADER

w

w

(2)

w *w

+4

(1)

= bound *resolution

& w

Realized:

˙˙ w

*

+4

? w

w

w

Three-voice Notation: (3)

&

˙˙ ˙˙

w

(2)

& w

œ ˙. œ ˙.

w

(1)

? w

w

w

(2)

& w

w

(1)

? w

w

(3) Upper Voice

&

Realized:

w

w

w

w

b. Tier #1 - Consonant Intervals. All intervals above the bass must be consonant. When the bass sings the leading tone, the GT may use the figuration at Ex. 4f to avoid parallel octaves. The GT voice may choose to indicate the supertonic and embellish the dominant to signal a cadence.

(3) & (2) (1)

w

w

w

w

w

w

w

3

6

3

5

3

8

5

& w w8 ?

œœw 3

w

w

w

w8

3

w

w

œw

6

wœ œ

5

3

w

w

w

w 8

w 8

w

c. Tier #2 - Phrase-Model Idioms. The focus of this tier is learning the tonic and non-tonic expansions on the Phrase Model Handout.

Consequently, some dissonances, including Fa-Ti and Sol-Do may be included. Students may wish to perform this exercise while pointing at the idioms on the Handout.

w

w

w

w

w

w

w

w

w

& w

w

w

w

w

w

w

w

w

w

V4

(3) & (2)

Type 1b (Do-Fa-Mi)

(1)

? w

w

Type 1a (Mi-Re-Do)

w

w

w

w

6

5 3

w

w

d. Tier #3 - Consonant and Dissonant Intervals. Students are encouraged to include contrapuntal dissonances and resolve them together to the expected interval of resolution. Embellishments may be added in one voice and imitated in the other.

(2)

& w 8

(1)

? w

w

w

w

*3

7

+4

w

w

w

Bass leads:

w

*6

w

w

w

3 w

w

w

*3

4

w

GT leads:

w 8

w

Cadential gesture:

(2) (1)

e. Tier #4 - Chromatic Chords (Non-modulating). Both bass and GT play a role in determining what chromatic chords are implied. The GT voice addes figurations found in Example 4.

(2) (1)

b &b b w

nw

w

w

nw

? bb w b

bœ

6 V5

6 V4

œw

bw

w

w bII 6

wœ #w

#œ

œ

nw w

viio7

w w

I iv V I c: f. Tier #5 - Diatonic and Chromatic Modulation. Students can choose a modulation in advance or draw modulation “play cards”

before or after they begin. To modulate, both voices repeat the pivot chord using new syllables and the upper voice moves to the new GT.

(2) (1)

& w ? w

C:

I

w

w

V 65

bœ

œ

w

w

IV

w œ #œ œ w

#w

V 65

w

V

w

Ti

w

Sol

Do

Le

V7 B: Gr+6

w

#w

#w

#w 6

V4

5 3

w

w I

b

Example 7 Haydn String Quartet in E Major, Op. 76, no. 6, II. Fantasia (Adagio), mm. 31–39 (m. 36 respelled for clarity): Tonic Expansions and Chromatic Modulation The GT analysis given below could be performed individually while listening, as a small-group singing activity, or as a dictation exercise on paper. 31

GUIDE TONE (sing or notate):

32

33

3 & 4 bœ œ œ ˙

34

bœ b˙.

Do Ti Do Ti

35

bœ œ œ b˙ .

bœ ˙

Do

36

Do Ti

Do Ti Do Ra

bœ 3 & 4 bœ˙. œ œ œ˙. œ œ œ˙. œ bœ bœœ œœ œ‰ œŒ œ bœ˙. œ œ J Audio excerpt œ bœ œ bœ bœ œ played to student: Œ ? 43 b œ œ œ ˙˙ bœ bœ˙. nœ ˙ nœ nœœ bœ œŒ œ œ bœ J bœ BASS LINE: (sing or notate)

? 43 bœ

œ œ

b˙

bœ

˙

Type 3a and 3b tonic exp. (neighbor bass)

STUDENT NOTATIONS (expansions and cadences):

P

nœ

œ Œ Œ bœ

4-3 (Cad?)

D b HC/B

œ bœ

37

=

˙

38

39

˙

#œ œ Œ Œ

#œ

Do

Ti Do

3

Ti Do

bœb˙ #œœ.. #œ n˙ #œ #œœ œ#œ œ #œ œ Œ Œ bbœ˙.. # # œ nœ #œ œ #œ Œ Œ b ˙. b˙.

#œ œ nœ. n ˙ #œ#œ #˙.

b˙

#˙.

Type 1a P tonic exp. (Do-Re-Me)

6 4

??

=F# (V)

#œ#œ œ ŒŒ œŒ Œ 5 3

œŒ Œ PAC/B

Ra becomes Do= b B C

Example 8 Schubert Symphony No. 8 in B Minor “Unfinished,” II. Andante con moto, mm. 61–83: Tiered Keyboard Harmony GT Exercises By first performing a GT thread through the passage, students learn to relate its harmonies through linear connections, which become the reference point for the notes added at later stages.

#### &

w # # Tier #2: GT + I and V (whole) ##w & w Tier #3: all harmonies (solid) w Tier #1: GT only

#1 #2/#3

#### &

w ww w #w

#

Do

w

# ## &# w w w

œœ #œ

œœ œ

Ti

w

nw

Te

Sol

bœ n œ w

w n œœ n w nw w nœbœ n w w

w nw w w

b #1 #2/#3

#### & &

####

w

nw w w w

Ti

w

#w w w #w

Do

#w

w ww #w w

w

w #w w

w

w nb w w nw

Ti

Re

# #

œ

nw

w w œ nnw

w

nw w w w

Example 9 Haydn String Quartet in G Major, Op. 54, no. 1, I. Allegro con brio, mm. 62–77 (Development) This example provides a sample of a student GT analysis along with a variety of notations. Notice that at mm. 72–73, the student has difficulty with the GT analysis and makes a note to consult the score. Using the score primarily to clarify one’s aural impression of a piece is one of the chief learning goals of performing advanced analysis-by-ear. Represented below the excerpt is the guide-tone figuration of the descending chromatic “floating GT” employed by the student.

Guide Tone:

&

#

Do

w

Student Notes:

Ti

Do

w

œ

Type 4 tonic exp. (Fifth-related Bass)

62

Di=Ti/a

Passing bass (compare to m. 50)

Do

w

#w

! (Standing on V)

63

6 4

64

65

Audio excerpt:

Do

66

n

#

F =Fa

Guide & Tone: Student Notes:

Ti

w

#w

nœ

#w

#œ

67

œœw

Ti

w

Do Ti

w

#œ

Searching for HC?

w# w!

74

75

m. 3)

w

76

77

Guide-tone figuration and harmonization (mm. 71–74): descending chromatic scale:

&

#

Do

Ti

[

Fa

Mi

Fa

Mi

œ # œ nœ #œ n œ œ

]

71

#œœœ vii o

72

73

œ œ # œœ #nbœœœ # œœ n œœœ E

vii o

D

V

#œ

G

n

( nœ

?F# œ

Cadence denied?

Do

(C Maj. exp.) pedal bass (compare to

P1 (2nd rotation)

w

71

Do Di=Ti/d

œ

Do Ti

#œ

69

Ti

PAC/C

73

Do

68

Mi Re DO!

(

#

Guide & Tone: Student Notes:

Ti

74

œœœ

C

72

Score Analysis Required

Like example 9 above, the excerpts in examples 10–12 contain challenges that invite the listener to develop new types of GT figurations, including “floating” guide tones, consecutive applied leading tones, and circle-of-fifths progressions. The purpose of this collection is not to provide an exhaustive list of possibilities explored by composers in transition and development sections. Rather, students are encouraged to develop an internal library of GT figurations by listening attentively to many works spanning a variety of style periods and genres. Example 10 Grand Pauses before Retransitions in Haydn Sonata Form Developments HC/c#

a. Haydn Symphony No. 87 in A Major, I. Vivace, mm. 117–125

œj œ œ œ#œ œ ‰ #œj œ#œ œ œ œ ‰ ‹œj œ œ #œ œ Œ Œ ### c œ ‰ j # œ ‰ Œ Ó œ œ # # œ & # œœ œœ œœ # ‹œœœœœœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ Œ œ Œ œ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ

œœœ

#

c : V

j ? bb c œœ œ b œ f

c: V

‰

œœœj œ

‰

# œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ

E: I

b

b. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 66–69

œ b œœœ œ & b bc #œœnœœ œœœœœœ œœJ

œœ

2

œœœ œJ

‰

‰

œ nœœœ J

‰

œœœ œJ

‰

œœ n œœœ œœ ‰ J J

HC/c ?

U w nw w

œœœœ œœœœœœœ œœœœ œœœœœœœ j ‰ œœj ‰ U œ œ n œ œ n œ œœ œ œ œ œ œœ w w

&

p

&

Example 11 Extended Chromatic Sequences

b

a. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 10–14, Transition

b

n œ #œ. œ #œ. œ nœ. œ œ ‰ R ® ® nœ. ® ®

b. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 72–80, Retransition

Œ n#œœ œ œj . n œ. # œ . E: I

‰ œœ œ . n œ.

Example 13 Bass and GT Profile of Haydn Symphony No. 82 in C Major, I. Vivace assai

Form: Cadence: GT shifts:

16

P

HC/C

Sol>Do

[4a] [2a-V]

Fifth-rel. Pedal

C: I

V

I

% œ # œ œ œ #œ #œ œ n œ œ #œ

59

P

œ œ

œ

% œb œ œ # œ bœ œ œ # œ œ œ œ œ

#˙ œ

Fifth-rel.

Measure:

IV

125 >Le

œ

˙œœ

Fifth-rel.

g: V

Key/RN:

Expo. Dev. Recap.

˙ ˙œ#œ œ œ . œ ˙ œ œ. œ ˙ %

œ œ

174 185 187

192

P Tr >Ti Do

i

157

160

stretto imitation circle of fifths >Do (track pitches)

œ

œ

A: I

g: =V i a:V 194

196

œ #œ œ

162

173

TR HC/C

compare to mm. 50-53

œ œ

C: I

˙ œ œ# œ ˙˙ bœœ œœ %

Ti

MC S

207 209

>Ti

211

* = significant points of departure from exposition

V 214 216 217 225

203

HC/C

HC/C

228

231 236

C

PAC/C

241

249 261

EC

PAC/C

% œœ œ bœ #œœ nœ œœ bœ œ œ œ œ œ ˙˙ œ œ œ ˙ %œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ %œ œ ˙ œ œ œ œ œ œ #œ œ #œ n œ œ œ ˙ ˙œ œ œ œ œ bœœ ˙ œ œ œb œ #œ & ˙ œ œ # œ œ nœ œ œ ˙ #œ œ #œ œ œ œ ( œ) œ œ œ ˙ ˙ œ Standing ˙ œ Score-study req.

[4a]

Fifth-rel.

I

#

*

on V

*

[2a-V] I

Pedal

V

I

Tr S C 49 13 19 12 20 -32 15 31

V I

[4-hyb] i d: V

P 20 39 11

[4-hyb]

˙ œ œ bœ œ#œ œ #œ œ œ ˙ #œ œ #œ œ #œ œ œ ˙ œœ ˙ œ#œ œ œ œ

Fa Mi Fa Mi

Exp. Type:

Formal distribution (in mm.)

PAC/G

I

S

102

C

˙#œ œ #œ œ #œ œ # œ œ # œ n œ ˙œ œ œ œ

% œ œ

142 150

HC/a >Ti

83 84

MC S

V

131 135

81

70 78

Pedal

[4b-V] I

˙˙

{

Form: Cadence: GT shifts:

I

117

Aux./F HC/g >Ti

[4b-V] F: V

V

111

œ œœ ˙ & œ ˙ œ œ

69

[2a-V]

G: I

Form: Cadence: GT shifts:

Recapitulation

53

[5] [3a]

103 105

Key/RN:

50

HC/G

Cont. Neigh.

Measure:

Exp. Type:

47 48

TR

˙ ˙ ˙ ˙ ˙ œ#œ ˙ & ˙ ˙

Exp. Type:

Development

33 40

% œœ

% œœ

Key/RN:

21

{

Exposition

Measure:

n #

compare to mm. 44–47

[2a-V] Pedal

V

[4-hyb] I

*

V I

(fine)

%

œ œ b œœ œ œ œ œ œ œ 4 3

V bVI

˙ ˙

V I

Symphonic Hearing: Listening as Active Participation Selected Bibliography Alegant, Brian. “Listen Up!: Thoughts on iPods, Sonata Form, and Analysis without Score.” Journal of Music Theory Pedagogy 21 (2007): 141–160. Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998. Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006. Karpinski, Gary S. Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians. New York: Oxford University Press, 2000. Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. 3rd ed. New York: Oxford University Press, 2011. Lewin, David. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception: An Interdisciplinary Journal 3, no. 4 (Summer, 1986): 327–392. Reprinted in Lewin, David. Studies in Music with Text. Oxford: Oxford University Press, 2006. Lowe, Melanie. Pleasure and Meaning in the Classical Symphony. Bloomington: Indiana University Press, 2007. Marcozzi, Rudy. “The Use of Binary Logic and Processing to Enhance Learning and Instruction in the Undergraduate Theory Classroom.” Journal of Music Theory Pedagogy 12 (1998): 25–38. ———. Strategies and Patterns for Ear Training. Upper Saddle River: Prentice Hall, 2009. Rahn, Jay and James R. McKay. “The Guide-Tone Method: An Approach to Harmonic Dictation.” Journal of Music Theory Pedagogy 2 (1988): 100–111. Richards, Mark. “Teaching Sonata Expositions Through Their Order of Cadences.” Journal of Music Theory Pedagogy 26 (2012): 215–252. Rings, Steven. Tonality and Transformation. Oxford: Oxford University Press, 2011. Rogers, Nancy. “Assembling the Nuts and Bolts: Building Musical Skills through Improvisation.” Paper presented at The Musical Ear conference, Bloomington, Indiana, September 26, 2009. Schubert, Peter. “Improvising a Canon #1: At the 5th Above.” Accessed December 13, 2012. http://www.youtube.com/watch?v=n01J393WpKk. ———. “Improvising a Canon #3: In Three Voices (part 1).” Accessed December 13, 2012. http://www.youtube.com/watch?v=eu_-OfAABHw. Schubert’s series contains more videos than those listed here. Stevens, Daniel. “How to Understand a Harmonic Progression in Fewer than Ten Hearings: Implementing and Extending the Guide-Tone Method Using the ‘Do-Ti Test.’” Paper presented at The Musical Ear conference, Bloomington, Indiana, September 26, 2009.

Example 12 Applied Leading Tones and Circle-of-Fifth Sequences: Haydn Cello Concerto No. 1 in C Major, III. Allegro molto, mm. 107–133