Music Theory II (MUT 1112) � Name: Instructor:

PRACTICE FINAL EXAM Part-writing (50 minutes; 40%)

• Complete the partial progression below with appropriate chord symbols. • Realize the progression in four-part keyboard style, making sure your notation clearly

conveys four voices throughout. • Mark an elided resolution. • Add a suspension to the final cadence. • Include two levels of contextual analysis (more detail on level 1, less detail on level 2). chromatic voice exchange including Perfect authentic a passing 64 chord cadence

!"##############################################

♭♭♭♭

4444

% % %♮

g: i V6 V4

2 i6 iiø56

contextual analysis level 1: T

level 2: T

• Add appropriate Roman numerals to the figured bass line. • Realize the progression in four-part vocal style. • Identify the final cadence type. • Mark a deceptive resolution and an evaded cadence.

Cadence:

!"##############################################♭

♭ 4444 % % % % % % %% ♭ % %%♭% &

#7 6

43 I

56 6

4 —— 64

2 6 5

6 864

———

b753

4 — 3

Friendly reminders: Have you proofread carefully for correct (including canceled) accidentals? Are all of the 64 chords properly represented? Did you change the given figures or add figures? (If so, change them back!)

2018 Practice Final w Music Theory II (MUT 1112) Page 2 of 6 Short answer (10 minutes; 10%)

List all of the keys that are considered closely related to….

F # major G minor

The diagram below depicts .

The diagram below depicts .

a: HC C: PAC

a'a

IAC PAC HC

a b c

The diagram below depicts .

HC IAC HC IAC

a b a b

The last two measures of the violin melody from Mozart’s Violin Sonata No. 13 (K. 402) are shown below. How would these appear for a B b tenor saxophone? Don’t forget to include the correct key signature.

Sounding pitch: Written pitch, tenor saxophone in B b (sounds ↓M9):

!"""""""""""♯♯♯ 34 $%& % % ' % % %( )

!"""""""""""

2018 Practice Final w Music Theory II (MUT 1112) Page 3 of 6 Analysis #1 (40 minutes; 30%)

An excerpt from the second movement of Haydn’s Piano Trio (Hob. XV:14) appears on page 4; a recording is available online. Please do the following.

A. Label all cadences on the score, specifically identifying each cadence type. Be sure your cadence labels are properly aligned with the music.

B. Do measures 1-8 form a period? If so, what type? If not, why not?

C. Name the form of this excerpt as specifically as possible, using any applicable vocabulary.

D. Provide a harmonic analysis of the following portions: • Measures 13-16 (generally expect one chord per bass note) • Measure 5, beat 3 — a blank is provided • Measure 7, beat 2 — again, a blank is provided

E. On the score, between the piano and ’cello parts, depict your analysis of this excerpt’s hypermeter.

F. Locate the following features on the score. Please be sure each location is very clear. • anticipation • accented passing tone • chromatic passing tone • sentence • irregular resolution of a secondary chord (identify what the regular resolution would be) • detonicization • parallel 3

6 chords (also indicate whether or not this passage is sequential) • arpeggiation 4

6 chord • deceptive resolution (also indicate whether or not this is an evaded cadence)

G. Extra credit: reduce the melody from measures 1-5 down to three notes.

!""""""""""♯♯♯♯

2018 Practice Final w Music Theory II (MUT 1112) Page 4 of 6

2018 Practice Final w Music Theory II (MUT 1112) Page 5 of 6 Analysis #2 (20 minutes; 20%)

The beginning of Mozart’s Violin Sonata No. 13 (K. 402) appears on page 6; a recording is available online. Please do the following:

A. Above the violin part, locate all cadences and identify each by type. Be sure your cadence labels are properly aligned with the music.

B. Locate a tonicization on the score. Identify the chord with appropriate Roman numerals and figures.

C. Provide a contextual analysis for the entire excerpt. Adopt a fairly long-range view, using no more than eight T/PD/D labels altogether. (You may wish to add a more traditional harmonic analysis with Roman numerals and figures, but this will not be graded.) Please align the labels carefully.

D. Locate the following features on the score. Please be sure each location is very clear. • neighbor tone • appoggiatura • sentence • arpeggiation 4

6 chord • neighboring 46 chord

E. On the time line below, diagram the excerpt’s phrase structure. Be sure to include: • cadence types • arches representing phrases • brackets depicting subphrases (if they exist) • arches that show how the phrases group together into larger units (if they do) • any phrase expansions (indicate the location and name the type of expansion) • letters to depict whether phrases are basically the same or different (a, b, a', etc.)

| | | | | | | | | | | | | | | | | | | 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

F. Is this a period? If so, what type? If not, why not, and how would you describe it instead?

2018 Practice Final w Music Theory II (MUT 1112) Page 6 of 6 Mozart — Violin Sonata No. 13 (K. 402), first movement, measures 1-18