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ARCT AnalysisPractice Paper 1

© Copyright 2016 The Royal Conservatory® Certificate Program

Your answers must be written in pencil in the space provided.

Il faut que vous écriviez vos réponses au crayon dans l’espace donné.Maximum Marks

Total Marks

Confirmation Number

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1. Analyze the fugue on pages 7 to 9 of this examination by answering the following questions.

a. Name the key of this fugue.

b. Name the type of answer.

c. Label all complete appearances of the subject (S) and answer (A) directly on the score. Differentiate between the subject and the answer according to the melodic content. Name the key of each entry.

d. Label the statements of the two countersubjects. Use the labels CS1 and CS2 , respectively.

e. For the passage from measure 5, beat 1 to measure 7, beat 1:

i. Give the term for this passage.

ii. Identify the source of the material in the soprano. measure:

iii. Identify the source of the material in the alto. measure:

iv. Name the type of sequence used in this passage.

f. For the passage from measure 9, beat 1 to measure 11, beat 1:


ii. Identify the source of the material in the soprano. measure:

iii. Identify the source of the material in the alto. measure:

iv. Give the term that describes the relationship between soprano and alto.

v. Identify the source of the material in the bass. measure:

vi. Name the type of sequence used in this passage.

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g. For the passage from measure 13, beat 1 to measure 15, beat 1:


ii. Explain how the material in the soprano is derived from the bass in measure 9, beat 1 to measure 11, beat 1.

iii. Identify the source of the material in the alto and bass. measure:

iv. Name the type of sequence used in this passage.

h. For the passage from measure 17, beat 1 to measure 20, beat 1:

i. Give the term for this passage. ii. Explain how the material in measure 17, beat 1 to measure 18, beat 3 is derived from

measure 5, beat 1 to measure 7, beat 1.

iii. Explain how the fragment in measure 18, beat 3 to measure 20, beat 1 relates to the

fragment in measure 17, beat 1 to measure 18, beat 3.

i. For the passage in measure 22, beat 1 to measure 26, beat 3:

i. Give the term for this passage. ii. Explain how the material in measure 22, beat 1 to measure 24, beat 1 is derived from

measure 9, beat 1 to measure 11, beat 1.

iii. Label the harmony using root/quality chord symbols in the blanks from measure 24, beat 1

to measure 25, beat 1.

j. Label the harmony using functional chord symbols from measure 28, beat 4 to the end.

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2. Analyze the first movement of Piano Sonata, op. 2, no. 1 by Ludwig van Beethoven on pages 10 to 17 of this examination by answering the following questions.

a. Provide a measure number for the first measure of each of the following.

theme 1

transition

theme 2A

theme 2B

codetta (close)

development

theme 1 recapitulation

transition in recapitulation

theme 2A in recapitulation

theme 2B in recapitulation

codetta in recapitulation

coda

b. Name the key at each of the following points.

measure 1 (principal key)

measure 9

measure 20

measure 49

measure 55

measure 63

measure 71

measure 74

measure 101

measure 119

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c. Write out the rhythm that is common to the RH material that occurs in measure 1p to measure 2 and in measure 21p to measure 22 (the lowercase “p” means “with pickup”).

d. Mark the dominant pedal point in the key of the relative major with V ped directly on the score. Use a horizontal bracket to indicate its entire duration.

e. For the passage from measure 50 to measure 55, beat 1, symbolize the harmony using functional chord symbols.

f. In the development: i. Label quotes of two different themes from the exposition. Identify the source of each

directly on the score. ii. Label a passage using a rhythmic variant of theme 2B directly on the score.

g. Mark the dominant preparation for the recapitulation with V prep directly on the score. Use a horizontal bracket to indicate its entire duration.

h. Identify the source of the material in the RH in the section from measure 81 to measure 93.

measure:

i. Identify the source of the material in the RH in the section from measure 95 to measure 100.

measure:

j. Provide a root/quality chord symbol for the boxed harmony in measure 118.

k. For the passage from measure 144 to the end, symbolize the harmony using functional chord symbols.

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[1]

[4]

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[.5]

[.5]

[1]

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3. Analyze Therese, op. 86 by Johannes Brahms on pages 18 to 21 of this examination by answering the following questions.

a. Name the key.

b. i. Label the verses directly on the score with V1, V2, etc. ii. Name the type of song (based on the relationship between the text and the music) and

briefly explain your answer.

Type of song:

Explanation:

c. From the beginning of the song to measure 5, beat 2, symbolize the harmony using root/quality chord symbols, indicating the bass note for each inverted chord.

d. From measure 25, beat 3, to the end of the song, symbolize the harmony using functional chord symbols.

Therese

Du milchjunger Knabe,Wie schaust du mich an?Was haben deine AugenFür eine Frage getan!

Aller Ratsherrn in der StadtUnd alle Weisen der WeltBleiben stumm auf die Frage,Die deine Augen gestellt!

Eine Meermuschel liegtAuf dem Schrank meiner Bas’:Da halte dein Ohr d’ranDann hörst du etwas!

Therese

You naïve youngster,Why are you looking at me like that?How your eyesAsk a question! All the councilors in the townAnd all the wise people in the worldRemain speechless at the question,That your eyes present! A seashell liesIn the cupboard of my cousin;Hold your ear close to it,Then you will hear something!

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4. Analyze the excerpt from Jota by Manuel de Falla on pages 22 to 23 of this examination by answering the following questions.

a. For measure 1 to measure 8:

i. Name the key. ii. Name the compositional technique used in the LH.

b. In measure 9 to measure 16, mark one example of each of the following directly on the score: major triad (MAJ), minor triad (MIN), diminished triad (DIM), and augmented triad (AUG).

c. For measure 17 to measure 32:

i. Name the key. ii. Mark the pedal point with Ped. Use a horizontal bracket to indicate its entire duration. iii. Mark an example of a quartal chord consisting of four different pitches with QUART. iv. Mark an example of a minor 7th chord with MIN7.

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ARCT AnalysisRough Work

Examiner Commentary © Copyright 2017 The Royal Conservatory

ARCT Analysis Practice Paper 1

Examiner Comments Total Mark for this Examination: 74.5/100 1. Fugue: 25.5/35 Part c: The student has labeled all the statements of the subject and answer correctly, but

misidentified the keys for the entries at m. 3 and at m. 29. Both wrong answers seem to be caused by the fact that the name of the key was based on the “visible” accidentals, while ignoring the key signature and the harmony. At m. 3, B natural and A natural are used to tonicize the subdominant chord in G minor (which is also the tonic of the home key), rather than to establish G major. The key becomes clear in the next two measures (mm. 4–5) when the dominant-function harmony in G minor resolves to the tonic chord. Notice the consistent use of E flat in both voices throughout this passage and the appearance of B flat on the downbeat of m. 4.

A similar error occurs in mm. 29–31: E natural on the last eighth note of m. 29 tonicizes the subdominant harmony over the tonic pedal point and the final E natural represents the tierce de Picardie, a common Baroque mannerism. Relying solely on accidentals when identifying the key of a fragment may work in some passages, but it is generally not the most effective approach. It is advisable to check the underlying harmony and look for the resolution of dominant-function chord(s) to the tonic. The student overlooked the fleeting nature of some of the chromatic alterations, missed E flat in m. 30, and overemphasized the change of chord quality at the end. Despite the raised third in the final chord, the key remains C minor.

Part d: Statements of the two countersubjects (CS1 and CS2) are marked correctly, with one

exception. Countersubject 1 starts on beat 3 of m. 26 in the soprano and continues in m. 27 in the alto voice. The eighth-note group in the upper voice in m. 27 is the beginning of countersubject 2. The student did not recognize the shifting of voice parts (used by Bach in several of his contrapuntal works, including some fugues from The Well-Tempered Clavier) and the characteristic rhythm involving an eighth rest in the soprano voice of m. 27, which defines the CS2. This resulted in a missed entry of countersubject 2 in m. 27.

Part e (i): The term provided by the student for the passage from m. 5, beat 1 to m. 7, beat 1

does not reflect the position of this passage in the form: since it appears in the exposition of the fugue, connecting the second (answer in soprano) and third (subject in bass) statements of the theme, the expected answer is “link” (or codetta). The term “episode” has been traditionally reserved in examinations for sections featuring contrapuntal reworking of the thematic material in the post-expositional parts of a fugue, as in m. 9, beat 1 to m. 11, beat 1 and mm. 13–15, 17–20, and 22–26. For the list of terms used in fugal analysis, see the Theory Syllabus, 2016 Edition.


ARCT Analysis: Practice Paper 1 continued Part e (iv): The name of the sequence in m. 5, beat 1 to m. 7, beat 1 does not correspond

with the root movement of chords in this passage. Bach’s progression implies harmonies based on the pitches C–F–D–G–E flat–A flat (they have been marked by the student correctly). While indeed the opening pair of chords constitutes the descending fifth leap, the subsequent shift from F to D and the similar moves from G to E flat in this progression do not continue the movement in falling fifths. Instead, the sequence outlines a stepwise-rising pattern C–D–E flat with the original pair of harmonies related by a rising fourth. Therefore, the correct answer is “ascending 5–6 sequence (root-position variant)”—also called the ascending fourths sequence.

Part f (ii): Unfortunately, the student appears to have based the answer on the general

similarity between mm. 9–11 and 5–7; that is, the overall contour of contrapuntal voices. This approach may be sufficient in some cases, but in this fugue, with its tight contrapuntal texture and close interrelation of melodic and rhythmic motives, a more thorough comparison of the material would lead to a better answer. There should be more differentiation between melodic shapes used by the composer and more careful analysis of their interaction. The soprano voice in mm. 9–11 presents the exact reiteration of the head motive from m. 1, which is the most conspicuous element of the fugue. In general, it is preferable to look for the closest and the earliest presentation of a thematic idea when identifying the source material.

Part f (iii): Similarly, the student has noticed the motivic exchange between the soprano and

alto voices, but the question implies identification of the primary source of the material. The correct answer is m. 1 (subject).

Part f (iv): A more specific term is preferable; the expected term is “imitation” (“canon” is

also acceptable). Part g (i): While it is true that the passage from m. 13, beat 1 to m. 15, beat 1 represents a

sequential progression connecting E flat major and G minor, the examination question aims at the formal component of the fugue, as opposed to a more generic compositional technique (“modulating sequence”) used in this passage. Therefore, the expected answer is “episode.” The passage contains no thematic entry, serving as an “interlude” between the statement of the subject in mm. 11–12 and the subsequent answer in mm. 15–16.

Part g (ii): The student has left this answer blank. Notice that the line in the soprano voice

starting on the second sixteenth note of m. 13 reflects the bass line starting on the second sixteenth note of m. 9, with the direction of the intervals reversed. The answer is “melodic inversion.”

Part g (iii): The student has left this answer blank. The original source of the material in the

alto and bass is the eighth-note group from the countersubject in measure 3. This movement is then given to two voices moving in parallel thirds in m. 7, beats 3–4.


ARCT Analysis: Practice Paper 1 continued Part h (ii): The student has noticed the similarity between the material in m. 17, beat 1 to

m. 18, beat 3, but did not provide any specific details. Comparing the named fragments, it is necessary to focus on at least one essential compositional feature that defines the relationship between the parts. The later fragment is a transposed version of the earlier one and is given in harmonic (vertical) inversion (invertible counterpoint) with the addition of an extra voice.

Part h (iii): Similarly, the student has noticed a rather secondary aspect of the relationship

between the two fragments. More important is the fact that the voice parts in these measures are switched vertically—the bass and the alto voices exchange their material, in combination with the soprano voice which remains in place but moves to a lower range as a result of a vertical inversion combined with the continuing harmonic sequence. The correct answer is that the bass and the alto in those passages demonstrate invertible counterpoint.

Part i (iii): The root/quality chord symbol for the chord on the first beat of m. 24 is

incorrect—the student has marked the quality as major–minor 7th chord, whereas the correct answer is Abmaj7 (or Abma7).

The chord on beat 3 of m. 24 may be identified as Dm7 or Dø7, since the fifth of the chord is not present.

Part j: The tonic pedal point should begin on beat 3 of m. 29; the Roman numeral I for the last eighth note in m. 29 misrepresents the chord, whose function is to tonicize iv over the tonic pedal (V/iv); there is a missing chord symbol for the subdominant over the pedal on the downbeat of m. 30; the chord quality on the beat 4 of m. 30 is incorrect (it should be i, not I—notice the E flat in the right-hand part).

Some of the answers in this part suggest that the student may have been thinking in the key of C major—an error discussed in part c. More attention to accidentals and chord quality might lead to correct identification of the key. The role of the concluding phrase is to confirm the key of C minor using the tonic pedal, a brief tonicization of the subdominant, and the dominant-function chords V7 and viio7.

2. Classical Form: 28/35 Part a: The analysis of structural components is generally well done. The student

successfully identified most of the thematic elements of this sonata-form movement. The only incorrectly marked section is the beginning of the transition.

Theme 1 ends with a half cadence in the primary key in measure 8; the theme’s conclusion is emphasized by a fermata over the quarter-note rest. The transition begins at m. 9p (pickup to m. 9) using the material of theme 1. At the end of the transition, the goal key A flat major is established and confirmed with a half cadence (m. 20, beat 1).


ARCT Analysis: Practice Paper 1 continued

The student seems to have extended theme 1 to the end of m. 16, possibly on the premise that almost the entire passage, including mm. 9–14, uses the main thematic idea, characterized by dotted rhythm with a group of triplet sixteenth notes. While this observation is valid, it is important to keep in mind that the structural cadences are located at m. 8 (half cadence in F minor marking the end theme 1) and mm. 19–20 (half cadence in A flat major marking the end of the transition). Measures 16–19 are instrumental in completing the form-defining modulation from the primary key to the new key—a process that was initiated at m. 9p.

The student has made the same error in identifying the beginning of the transition in the recapitulation. Theme 1 ends in m. 108; the transition begins at m. 109p (not m. 116 as indicated by the student). In the recapitulation, the beginning of the transitional passage is transposed back to the tonic key and there are other minor alterations involving harmony and motivic structure. In analyzing sonata components, it is important to remember that all stages of the musical process are marked by strong structural cadences.

Part b: Some keys are marked incorrectly. At m. 20, the student should consider the tonal context of this passage, instead of taking into account just the local (and temporary) tonicization of E flat. The bass pedal on E flat provides the dominant pedal point for the second theme (theme 2A), while the F flat in the upper voice gives this passage a subtle modal color.

At m. 55, the correct key is B flat minor (not F major), since the F major chord clearly serves as the dominant harmony in this key. Similarly at m. 63, the key is C minor, not G major. At m. 119, the correct answer is F minor. It is not enough to consider the local accidentals and the recurring harmonies; instead, the chord progression should be analyzed and each chord’s function identified.

Part c: The student has left this answer blank. This question asks to compare the rhythm in m. 1p to m. 2 and in m. 21p to m. 22. The rhythm of these fragments (theme 1 and theme 2A) uses the same pattern of six quarter notes beginning on the pickup to the first measure and ending on the downbeat of the following measure, as shown below:

Part h: The original source of the right-hand material is m. 1. Measure 45, indicated by the student, is problematic because the two-note group in this measure represents a different metric shape: strong–weak instead of weak–strong as in m. 81. As was mentioned in the discussion of part c, the weak–strong pattern is one of the unifying elements of this sonata movement.


ARCT Analysis: Practice Paper 1 continued Part k: The student has successfully identified most of the harmonies. Notice the following

corrections: the chord on the downbeat of m. 144 is not i —see the bass-clef F that appears on the second quarter-note of this measure. This note, and not the soprano C, represents the chord’s true bass. The second chord in m. 144 has to be marked as Ger6: the D flat in the bass creates an augmented sixth with the B natural above it. The V6 in m. 146 is actually a V /iv. The i chord in m. 149 should be VI , because it includes a D flat in the tenor voice.

3. 19th-Century Art Song: 14/20 Parts a and b: The key, the type of Lied, and the song’s subdivisions are identified correctly.

The explanation is complete and convincing, with a sufficient amount of detail and a sound reasoning. The student has pointed out all the relevant aspects of the song structure.

Unfortunately, there are several errors in parts c and d, such as incorrect identification of chord quality, bass part, and naming of chromatic (applied dominant) chords.

Part c: At m. 1, beat 3, the student did not include the bass note B for the G sharp diminished 7th chord. On beat 3 of m. 2, the chord quality is stated incorrectly—it is a half-diminished 7th chord, not a diminished 7th chord. At m. 3, beat 1, the chord is shown as a simple triad, whereas it contains a seventh and thus requires the symbol A7. At m. 3, beat 3, the root/quality symbol must reflect the minor seventh; therefore, the chord is half-diminished 7th.

Part d: In m. 26, one of the issues is the true bassline of this passage. The composer

introduced “staggering” off-beat bass notes separated by rests, which may have confused the student. The eighth notes in the bass should be read as if they sound with the rest of the chord, that is, on the beat. The student ignored this textural arrangement and marked three “extra” chords using the tenor voice as a substitute for the bass. Another error is the identification of the last chord in m. 26 in the key of B major. The functional symbol should refer to the tonicization of V.

In m. 28, the chord quality is wrong—the student has forgotten to include the D sharp introduced earlier in this measure; the symbol showing this chord’s function as an applied half-diminished 7th chord is also missing (viiø7/V).

In m. 32, the student has marked the last chord as IV6, but the correct answer is vi. The preceding V /IV does not resolve as expected. At m. 36, beat 2, there is a missing chord—the student did not show the change of inversion from I to I6; on beat 3, the chord quality is half-diminished, not diminished and it serves as an applied leading-tone chord, which should be reflected with a slash (/) or the word “of.”

At m. 37, beat 3, the correct chord symbol is V7/IV—this harmony functions as an applied dominant rather than an element of modal mixture.

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ARCT Analysis: Practice Paper 1 continued

On the downbeat of m. 38, the chord’s seventh is not shown; the correct answer is IV7, not IV.

4. Post-1900 Techniques and Procedures: 7/10 Part a: The student has correctly named the key (G major) and the compositional technique

used in mm. 1–8 (pedal point). Another acceptable answer for part a (ii) is ostinato (reflecting the incessant repetition of the rhythmic pattern) and cross-rhythm (pointing out the “two-against-three” grouping of the eighth notes).

Part b: The diminished chord is not labeled; see m. 15, beat 2. Part c (ii): The pedal bracket did not include mm. 17–20. The question requires the student

to indicate the entire duration of the pedal. In part c (iii): The student did not mark the correct type of vertical structure. The chord

includes only three pitches, while the expected harmony has to have four different pitches. Such chords appear in mm. 17, 19, and 31. It is a good habit for students to review the instructions after completing a question and verify that all the instructions have been taken into consideration.

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