Assignment for 10/25 (114lab.htm)

Weekly Lab Assignments for MUS 114

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Assignment for Week 6

Melody

Schumann 1
Schumann 2

Duet

Directions and Help

  • Use solfege syllables to indicate problem spots in each melody.

  • Listen to the duet and treat it as you would a two-part dictation (i.e., write out both parts).

Concepts in Practice

mode mixture

non-diatonic sequential repetition

imitative counterpoint

Assignment for Week 7

Melody 1
Melody 2

Melody 3
Melody 4


  • Does melody 1 modulate? Can you describe the function of the sharps in the first melody?

  • Identify the sequential repetitions in melody 2. Are the sequential repetitions diatonic or non-diatonic?

  • Melodies 3 and 4 employ mode mixture--write out the solfege syllables for each melody and circle the "blue" notes.



sequential repetition

modulation

mixture

Assignment for Week 8

Melody 1
Melody 2

Melody 3
Melody 4


  • How does melody 1 return to tonic? Be careful of the accidentals in m. 7.

  • Beware of mm. 7-8: try to hear the hidden diatonic scale segment re-do-ti-la-sol-fa-mi-do.

  • Can you hear the "implied" 7-6 suspensions in melody 3? In what measure do they occur?

  • The last tune is in G-major and begins on scale degree 3. Verdi's melody employs 7 non-diatonic elements, some related to G-major through simple mixture, others by chromatic figuration.



Modulation to Relative Major

Arpeggiated 6ths

Chromatic Neighbor and Passing Tones

Assignment for Week 9

Melody 1
Melody 2

Melody 3
Melody 4


  • Does changing solfege syllables make melody 1 easier to sing? If so, when and where do you hear the new tonic?

  • When singing melodies that leap to chromatic notes, it is often easier to sing the diatonic version before attempting the chromatic one. The beginning of melody 2 is a case in point.

  • Mark all cadences in melody 2.



Modulation

Leaps to chromatic neighbors

secondary dominants

Assignment for Week 10

Melody 1
Melody 2

Melody 3


  • Identify each instance of the dominant 9th chord in Melodies 1 and 2. The beginning of Melody 3 (do-te-la) requires a bit of practice.

  • Melody 3 uses all 12 notes of the chromatic scale except for one--which note is left out?

  • What kind of cadence is hinted at in m. 4 of Melody 3.



Dominant 9ths

Simple chromatic neighbors (ri and di)

secondary dominants

mixture (la / le, mi / me, ti / te)

Assignment for Week 11

Melody 1
Melody 2



  • Write out both melodies and circle each occurence of ra (Phrygian 2) and fi (raised scale degree 4).

  • Isolate those passages that arpeggiate the Neapolitan and practice them.

  • Where does Phrygian 2 find its melodic resolution?



Neapolitan (lowered scale degree 2)

Chromatic solfege syllables fi and ra

tonicization of V

Assignment for Week 12

Melody 1
Melody 2
Melody 3


  • Identify the Italian 6th in the melody? Modify the melody rhythmically to accomodate other augmented 6th chords.

  • Identify the modulation in melody 2. Where does it begin to move toward the relative major?




Neapolitan

Augmented 6th Chords

Tonicization of V