Eighteenth-Eighteenth-
Century Counterpoint, Music 406
Century Counterpoint, Music 406
& 506
& 506
Richard Hermann, Prof. of Music, Univ. of New Mexico
Richard Hermann, Prof. of Music, Univ. of New Mexico
Office Center for the Arts room 2104, 505 277-2419, [email protected]
Information and Class Policies for
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center
Office: Fine Arts Center, room 2104,
, room 2104, [email protected]
[email protected]
Attendance Policy:
Attendance Policy:
Regular attendance is required. An accumulation of 5 or more
Regular attendance is required. An accumulation of 5 or more
absences, excused or not excused, with a grade average of B or lower will result in a student
absences, excused or not excused, with a grade average of B or lower will result in a student
being withdrawn from the course at my discretion. Otherwise, the grade will be lowered one
being withdrawn from the course at my discretion. Otherwise, the grade will be lowered one
grade level (e.g. A to
grade level (e.g. A to A- , B+ to B, etc.) p
A- , B+ to B, etc.) per absence after the fifth. If you should
er absence after the fifth. If you should have to miss
have to miss
class, contact a class member and
class, contact a class member and get homework and “pre-homework” assignments from them.
get homework and “pre-homework” assignments from them.
As soon as p
As soon as possible—preferably beforehand—inform me of the
ossible—preferably beforehand—inform me of the reason for your a
reason for your absence. Y
bsence. You
ou
may use e-mail to inform me.
may use e-mail to inform me. This is area policy.
This is area policy.
Class Meetings:
Class Meetings:
Study of Pieces from the “Listening an
Study of Pieces from the “Listening and Study List...” Listen to the
d Study List...” Listen to the
pieces, make your map, and prepare your questions for class discussion. Bring questions about
pieces, make your map, and prepare your questions for class discussion. Bring questions about
the readings for the day. (See the “Reading Calendar”.)
the readings for the day. (See the “Reading Calendar”.)
Class Activities:
Class Activities:
(1)
(1)
Discussion of
Discussion
of Assigned
Assigned Readings
Readings from
from Class
Class Calendar
Calendar (all)
(all) and
and Graduate
Graduate
Student Reading Calendar (grad students only)
Student Reading Calendar (grad students only)
(2)
(2)
If t
If the di
he discu
scussi
ssions
ons of c
of clas
lass re
s readin
adings s
gs show
how inad
inadequ
equate i
ate insi
nsight o
ght or pre
r prepara
paratio
tion,
n,
unannounced reading quizzes may be given at the start of class.
unannounced reading quizzes may be given at the start of class.
Class Preparation:
Class Preparation:
(1)
(1)
Read
Read slo
slowly
wly and
and seve
several
ral tim
times w
es whil
hile d
e devel
evelopi
oping
ng que
questi
stions
ons for
for cla
class.
ss.
(2)
(2)
Dev
Develo
elop at l
p at leas
east tw
t two qu
o quest
estion
ions or
s or ins
insigh
ightful
tful obs
observa
ervatio
tions a
ns abou
bout th
t the rea
e reading
dingss
that baffle or intrigue you. You may be asked for them. These questions or observations
that baffle or intrigue you. You may be asked for them. These questions or observations
should be relevant, important, and creative, if at all possible.
should be relevant, important, and creative, if at all possible.
(3)
(3)
Wri
Write t
te thes
hese in
e in penc
pencil
il in y
in your
our text
textboo
book o
k or xe
r xerox
roxed a
ed artic
rticle s
le so th
o that y
at you w
ou will
ill
remember them in class when I ask you.
remember them in class when I ask you.
Course Objectives:
Course Objectives:
This course focuses on composition in the style of and analysis
This course focuses on composition in the style of and analysis
of chamber music of Europe and to a lesser degree America in the late 17th- through
of chamber music of Europe and to a lesser degree America in the late 17th- through
18th-centuries. Historic, aesthetic, educational, performance, compositional, and
18th-centuries. Historic, aesthetic, educational, performance, compositional, and
theoretical concepts and issues are naturally interconnected and find appropriate
theoretical concepts and issues are naturally interconnected and find appropriate
emphases within this course.
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center, room 2104, [email protected]
Dates, Important:
Registration
ends
Fri.,
30
Aug.
Last day to change grading options
Fri., 30 Aug.
Last day to drop with 100% refund
Fri., 6 Sept.
Midterm
due
Tues.,
15
Oct.
Proposals due (grads)
Tues., 22 Oct.
Last day to withdraw without Dean’s approval
Fri., 8 Nov.
Last day to withdraw with Dean’s approval
Fri., 6 Dec.
“Final Exam”
Tues., 10 Dec. 10:30-12:30
(grad presentations, grad papers due, & Class performances as needed)
Email:
be sure to check your unm email account before class for any last minute
thoughts, pdf handouts, or scores that you will need.
Email Attachment Labeling:
You may submit homework and papers via email
attachment. I get many anonymous file/attachment names such as “term paper” or
“homework.” This is not very helpful as you might imagine for my associating this with
you and this particular class. Hence, please use the following attachment/file labeling
convention.
Sender’s Last Name—Class Name—Assignment Name
Here is an example: Hermann–18thCentCpt–Ch3#2HW. (Here this means the
second homework assignment for chapter 3.) Please submit as a pdf for homework; pdf
or MS-Word for papers. Of course, a traditional hard copy paper is quite acceptable for
homework or papers.
Email Subject Line Labeling
: I get a lot of email, and it can be difficult to locate
the one of yours I may be looking for if it is labelled without a lot of thought. Here is the
convention for email labeling for you to follow.
Sender’s Last Name–Class Name–Topic.
Here is an example: Hermann–18thCentCpt–Ch3#2HW.
Extra Help/Office Hours:
TBA but on Tues. & Thurs. at my office for your help. If it is
not possible for us to meet at that time, then please make an appointment with me for a mutually
agreeable time. Suggest times you can meet on three different work week days via email. I will
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center, room 2104, [email protected]
select one and inform you by email. Some times I am a bit late; please wait.
Final Examination:
There is none for this course. The scheduled final examination time
will be used for presentations of graduate student e ssays.
Grading Policy:
Homework = 59% of the course grade for undergraduates and 32% for
graduates. Class participation (preparation of study pieces & reading as evidenced by questions
asked and observations shared) = 25% (Thus, I
should
NOT have much time to talk); Midterm
take home = 16%; Graduates only have a presentation and essay on the same topic = 27%.
Homework Policy:
Most class meetings will have homework due. (There are 25 in
number.) If after study, you do not understand your errors or my markings, see me during the
next office hour or make an appointment with me. Corrected homework will have numbers
written at the locations of errors. See “Tonal Error Key Sheet” for a description of the error so
labeled. All homework assignments for the semester are found in “Homework Schedule”. As
textbooks use differing symbols for analysis, we will standardize on “Notational Conventions for
Tonal Music.” For a review of dissonance, see “Comments on Dissonance Types.”
INCOMPLETE OR LATE HOMEWORK: I will correct them only if I have time. A substantially
complete paper is will be awarded a D. If the paper is not substantially complete, then a grade of
F is assigned. If a homework is not turned in, it is assigned a grade of zero for averaging. A
substantially late (but complete homework) with good reason will be assigned a grade of C
otherwise a D or F if nearly complete or substantially incomplete respectively.
Homework ID:
UNM student privacy policy indicates that student papers with
their names on them should not be left in places where others can see them: e.g in a sack
on the instructor’s office door. So, please e-mail me three choices for a homework
password that you will put on your homework paper where your name would normally
go. To ensure that there are no duplicates, I will view them all and tell you which you
should use on your homework paper. Only you, me, and my graders will know whose
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center, room 2104, [email protected]
paper is whose in order to assure privacy.
Send me this e-mail before the first Thursday.
I will
get back to you Wednesday night. Start using the new homework password for the first
assignment due on the first Thursday of classes.
Lectures and Reading Assignments:
See the “Reading Calendar”. I tend to lecture on
related information that is not in the required text. After all, what is the book for if I merely
lecture on its contents? I also use class meetings to show other applications of the material. You
are responsible for information and concepts from both the lectures and the text. I will certainly
answer questions you may have about what you read in the textbook. Where I note
disagreements between my opinion and that of the text, remember, I'm giving the grade. Should
you be unsure of a conflict between what I've said and what is in the text, gently bring it up in
class. I note students with good powers of observation in that regard and reward them. If there is
reading involved, for reasons mentioned above, it must be read prior to the class meeting. Should
you not do this, you will be unlikely to follow fully what is going on in class.
Mistakes:
I make mistakes too! Its ok to make them. They only become problems when
we don't examine them carefully and learn from them. If you think you're going to make a
mistake, make a good and big one so that we can all learn! Its ok to tactfully point out one of my
mistakes, if you think I might have made one. If you are having trouble learning from your
mistakes, get help from me immediately!
Performance of Your Pieces:
Each class member will have one of three compositions
performed in class (not rehearsed, not sight read, but performed in class). They are the Small
Binary piece, the Two Part Invention, or the Large Binary piece. You will be expected to perform
in your piece and in other class members’s pieces when asked. The quality of your performance
will be a factor in your class participation portion of your grade. I will have sign up times on my
office door. You are responsible for rehearsing your classmates. Should you need to change times
and wish to swap times with a classmate both of you must email me making the request for a
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center, room 2104, [email protected]
swap. These will be performed first thing in class so get there a bit early to set up. Bring your
own music stands.
Plagiarism:
Is directly (by not directly citing the source of a quote and location in
source or homework solution) or indirectly (paraphrasing without citation of source)
taking credit for someone else’s work (intellectual theft). Should this occur, the
assignment (given a 0 not an F) or entire course (given an F) will be given at my
discretion. Further disciplinary action might be assigned by the undergraduate or
graduate committee or student government; this may include a suspension from classes
for a semester or more or even expulsion. If you have any question, specific or general,
about plagiarism, please consult with me for an opinion
beforehand
.
Problems:
If after reading this syllabus, you have serious cultural, economic, familial,
health, linguistic or religious issues with the demands of this course or in the manner of its
administration, contact me immediately to see what we might be able do to accommodate you.
Questions:
I LOVE THEM! Remember, no matter how “dumb” your question may seem
to you, at least five other people in class are thinking the same thing. (They just don't have the
guts to ask.) Some of the “dumb” questions I've heard in class over the years have forced me to
rethink some basic issues in music. If you're confused, ASK THAT QUESTION! If you don't
understand the reading assignment—you have reread it, right?—ASK QUESTIONS! How else
are you going to get over the rough spots? See my comments on “Class Participation” above.
Recordings: You can get free access to classical music recordings as streaming mp3s by
following the links given here: http://elibrary.unm.edu/zimmerman/ — Databases—C—Classical
Music Library. You will be able to find one or more recordings of any piece used or mentioned in
this class. Some are also available for download purchase. The quality of performances on
YouTube range from ripoffs of commercial recordings to not-always-adequate student recital
performances. It really is important to hear experienced and vetted musicians play this music.
Information and Class Policies for
Music 406/506, 18th-Century Counterpoint
Richard Hermann, Prof. of Music, UNM
Office: Fine Arts Center, room 2104, [email protected]
Student input
has greatly shaped this course over the years. So, please let me know
how we can improve this for future students in the music department. Those who have
done well in this course have gone on to famous graduate programs and been successful.
We want to keep a good thing going!
Tests & Quizzes:
There will be no tests in this class. I hope there will be no quizzes.
Text Books, none required but strongly suggeseted:
(1) Robert Gauldin,
A Practical Approach to Eighteenth-Century Counterpoint. Revised ed.
ProspectHeights, Illinois: Waveland Press, Inc., 2013.
Scores Suggested:
(These are not in the bookstore.)
(1) Johann Sebastian Bach,
Keyboard Music
. New York: Dover, 1970.
(2) Johann Sebastian Bach,
The Well-Tempered Clavier: Books I and II, Complete.
New
York: Dover, 1983.
(3)
178 Chorale Harmonization of J.S. Bach,
2 vols. (ed. Donald Martino). Only
www.dantalian.com<http://www.dantalian.com> sells these.
(4)
371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass,
ed. Albert
Riemenschneider.
Zzzz ...
Bring blank music paper, your texts,a pencil (NOT a pen), an eraser, and a smile
to class meetings.
Reading Calendar for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected]
3 Aug. 2013
Week no.
Date Due
Reading
G or H
Pages
1
Tues.,
Aug.
20
Ch.
1,
Introduction
1-22
1
Thurs., 22 Aug.
Ch. 2, Melody
23-32
Polyphonic Line
H
2
Tues., 27 Aug.
Ch. 3 Cpt Ped Foundations
33-40
2
Thurs., 29 Aug.
Ch. 4, 2 Voice: 1 to 1
41-56-3
Tues., 3 Sept.
Ch. 5, Simple diminution: 2 to 1
57-68
Counterpoint to Composition
H
Mann,
The Great Composers
G
7-39
3
Thurs., 5 Sept.
Todd,
Mendelssohn’s …
G
19-26
4
Tues., 10 Sept.
Ch. 6, 2 Voice Chorale Preludes
69-82
4
Thurs., 12 Sept.
Lester, Compositional Theory...
158-173
5
Tues., 17 Sept.
Ch. 7, Free Cpt Simple 2 Reprise
83-95
5
Thurs., 19 Sept.
Stefan Eckert, “So, you
G
want to compose a Minuet?”
Music Theory Online,
vol. 11, no. 2
6
Tues., 24 Sept.
Ch. 8, Further Dim. 2 Voice Texture
96-106
6
Thurs., 26 Sept.
C.P.E. Bach,
True Art...
G
430-445
7
Tues., 1 Oct.
Ch. 9, Real Imitation, Dbl Cpt
107-116
7
Thurs., 3 Oct.
Kirnberger,
The Art…
G
266-275
8
Tues., 8 Oct.
Ch. 10, 2-part Canon & Invention
117-130
8
Thurs.,
10
Oct.
FALL
BREAK
9
Tues., 15 Oct.
Todd,
Mendelssohn’s …
G
27-35
Cherubini,
A Treatise…
G
51-56
9
Thurs., 17 Oct.
Todd,
Mendelssohn’s …
G
47-52
10
Tues., 22 Oct.
Ch. 11, Intro. 3 Voice, 1 to 1 & Dimin.
131-140
10
Thurs., 24 Oct.
Lester,
Compositional Theory
G
173-192
11
Tues., 29 Oct.
Ch. 12, Dimin. & 3 Voice Chorale Prelude 141-154
11
Thurs., 31 Oct.
Mozart,
Attwood Studien*
G
167-179
12
Tues., 5 Nov.
Ch. 13, Chromaticism
155-166
12
Thurs., 7 Nov.
Mozart,
Attwood Studien*
G
180-221
13
Tues., 12 Nov.
Ch. 14, Free Cpt. 3 Voices Ext 2 Reprise 167-176
13
Thurs., 14 Nov.
NotesInvertCpt16thCent
H
Reading Calendar for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected]
3 Aug. 2013
14
Tues., 19 Nov.
Ch. 15, Tonal Imitation, Inv. Cpt
177-193
14
Thurs., 21 Nov.
15
Tues., 26 Nov.
Ch. 16, Add Cpt Devices, Canon
194-208
15
Thurs., 28 Nov.
THANKSGIVING
16
Tues., 3 Dec.
Christensen,
Hist. Mus. Theory
G
554-602
16
Thurs. 5 Dec.
* * *** * * * * * * * * * * * *
G = required for graduate students, H = a Hermann handout that is supplementary but for all
class members to read.
Supplementary readings are intended to enrich our textbook, help reorient past education to
current thought, or fill holes in backgrounds. These are written by me.
Please do not distribute them!
Undergraduates are, of course, welcome to read the required graduate readings to enrich their
knowledge; they are just not responsible for them.
The required graduate readings are in an informal & abbreviated form. See this course’s
bibliography for the formal reference.
* = Mozart’s writing is in red ink, and Attwood’s is in black ink. The Basso fondamentale is a
line that has the same rhythm as the bass line but consists of chordal roots. It is an analysis of the
passage and is not to be performed. This is a volume in the Mozart Collected Works.
GRADUATE STUDENTS: For the G readings above, prepare two observations from the reading
that you will tell to the undergraduates in class. These should be understandable to them in the
context of the Gauldin and my handouts. These observations should be of interest or even better
could be put to use in analysis or composition in this style. You will be given five minutes for
each of you to communicate your points. You may provide a well designed and not overburdened
handout to assist you in communicating. You are not to try and cover the whole reading nor
necessarily the most important points. Focus on what can be rather easily communicated and
absorbed that is of some use.
Studying and Listening Calendar for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Week no.
Date Due
Piece
Ch. No. & Topic
1
Tues., 20 Aug.
Christ lag in Todesbanden1: Intro
sing, memorize tune!
2
Tues., 27 Aug.
Bach,
Anna Magdelena Bach3: Cpt Ped Fndtns
Notebook, Minuet in G maj.
2
Thurs., 29 Aug.
Handel, Suite in D min.
4: 2 Voices 1:1
Sarabande G125 (Suite = Lesson)
3
Tues., 3 Sept.
Bach,
French SuiteBm
5: 2 Voice Dimin.
Sarabande
4
Tues., 10 Sept.
Haydn, String Quartet in G maj.
6:
2 Voice Chorale PreludeOp. 76, No. 3 II Poco Adagio
5
Tues., 17 Sept.
Bach,
French SuiteC min
7: Binary (2 reprise)
Courante
6
Tues., 24 Sept.
Bach,
WTC 1, Prelude #2 C min
8:
More 2 Voice Dimin.
7
Tues., 1 Oct.
Bach,
French SuiteDm
9: Imitation Dbl Cpt
Minuet 1
8
Tues., 8 Oct.
Bach,
2 Part Inventionin D min
10: 2 part canon, Inv
10
Tues., 22 Oct.
Handel, Suite in B
Ômaj.
11: 3 Part 1:1 & Dim
Aria con Variazioni,
HG II/ii/I
11
Tues., 29 Oct.
Pachelbel,
Partita: Christus der12:
Dim3PartChoralePrelude
ist mein Leben
12
Tues., 10 Nov.
Purcell,
Dido’s Lament13: Chromaticism
13
Tues., 12 Nov.
Bach,
Partita No. 2C min.
14:
Extended Binary (2 reprise)
Capriccio
15
Tues., 3 Dec.
Bach,
WTC 1, Fugue #21 B
Ômaj.
15: ImitationMoreInvrtCpt
Homework Calendar for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected]
3 Aug. 2013
Week no.
Date Due
Homework
Pages
1
Tues.,
Aug.
20
Set
Christ lag in Todesbanden
in our Anthology
1
Thurs.,
22
Aug.
#1
&
#2
30,
31 (Ch.
2)
2
Tues.,
27
Aug.
#4a
32 (Ch.
2
2
Thurs., 29 Aug.
Add a middle voice & embellish
40
(Ch. 3)
3
Tues., 3 Sept.
#1, #2 (odd numbered)
50, 50-51 (Ch. 4)
#1 (odd numbered), #2, #3b
55-56 (Ch. 4)
3
Thurs.,
5
Sept.
#2
64-65 (Ch.
5)
4
Tues.,
10
Sept.
#2,
#3
68
(Ch.
5)
4
Thurs.,
12
Sept.
#1,
#3,
#4b
73,
74 (Ch.
6)
5
Tues.,
17
Sept.
#1,
#2
81,
82 (Ch.
6)
5
Thurs., 19 Sept.
#3
start binary, 1
stpart
91
(Ch. 7)
6
Tues., 24 Sept.
#2
finish binary, 2
ndpart
95
(Ch. 7)
6
Thurs., 26 Sept.
#1
figuration prelude
105
(Ch. 8)
7
Tues.,
1
Oct.
#2
105-106
(Ch.
8)
7
Thurs.,
3
Oct.
#1,
#2a
111,
112
(Ch.
9)
8
Tues., 8 Oct.
#3 do examples in maj. & min.
116
(Ch. 9)
8
Thurs.,
10
Oct.
FALL
BREAK
9
Tues., 15 Oct.
(take home midterm due)
9
Thurs.,
17
Oct.
#2
122
(Ch.
10)
10
Tues., 22 Oct.
#4 (entire invention, 20-40 bars)
130
(Ch. 10)
10
Thurs., 24 Oct.
#1a, #1
133-134, 140 (Ch. 11)
11
Tues., 29 Oct.
(none)
11
Thurs.,
31
Oct.
#1,
#1,
144,
153
(Ch.
12)
12
Tues.,
5
Nov.
#3b
(Vater unser im Himmelreich)
153-154 (Ch. 12)
12
Thurs.,
7
Nov.
#1-3
164-165
(Ch.
13)
13
Tues., 12 Nov.
(none)
13
Thurs., 14 Nov.
#1, #1
170, 173-174 (Ch. 14)
14
Tues., 19 Nov.
(start 26 Nov.
Sarabande
very early as this is long!)
14
Thurs., 21 Nov.
#1 (1
stVol. only), 4 analyses of
185-186 (Ch. 15)
tonal answers, #2 b, d, f, g
15
Tues., 26 Nov.
#2, Entire Sarabande
176 (Ch. 14)
Length (part 1, 16-20; part 2, 20-32), use
≥2 different sequences,
Homework Calendar for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected]
3 Aug. 2013
bars) of invertible cpt in 3 parts (present combinations so that each part
serves as the bass for the others; use embellishments (diminutions) of
simpler structural lines that use motives derived from your theme where
reasonable; start off each part (reprise) of the binary with imitation.
Be sure that each of the three distinct lines of the triple counterpoint occurs in the bass at some point in the piece.15
Thurs., 28 Nov.
THANKSGIVING
16
Tues., 3 Dec.
#1b, #2, #3, #4c, #5 do perms so that 192-193 (Ch. 15)
each distinct line is in the bass one.
16
Thurs. 5 Dec.
(none)
* * * * * * * * * * * * * * * * * * *
Note bene
(Italian for “note well”)
As these are nearly as difficult to correct as they are to write, please be sure that you hand in assignments
beautifully copied (or computer generated), on full sheets of paper, including your homework id, chapter
number, and number of assignment from the chapter (e.g. twinkle toes, ch. 27, no. 2). Please do not xerox
from the Gauldin text and try to cram your answer upon it.
Should a homework paper not conform, I will return it without corrections or grade at m y discretion.In your assignments, analyze everything such as dissonance-types, formal parts, contrapuntal devices
(canon, invertible cpt,
Vorimitation, imitation, etc.), roman numerals, figured bass, cadences, sequences,
motives (show with brackets beneath or above score as is visually clear), etc. This helps me diagnose what
might be less than well understood.
When Gauldin posses a question in an assignment, answer it!This course may expose holes in your past education or memory lapses. At the first sign of such, see me
either via office hours or by appointment if you can not make my office hours.
Homework in bold
are worth 5% course grade each for undergraduates and 3% for graduates. There are
six. The lowest score is dropped from the average. However, you may not have a bold homework score
dropped. Thus, in total they are worth 25% or 15% respectively of the course grade.
Homework in normal roman type are worth 2% course grade each for undergraduates and 1% for
graduates. There are 19 of them, and the grades of the lowest 2 will be dropped. Thus, in total they are
worth 34% or 17% respectively of the grade.
The value of both sets of homework then total 32% of the course grade for graduate students and 59% for
undergraduate students.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
Christensen, Thomas. ed. The Cambridge History of Western Music Theory. Cambridge:
Cambridge University Press, 2001.
General Works on the Fugue
Bullivant, Roger. Fugue. London: Hutchinson University Library, 1971. Horsley, Imogene. Fugue: History and Practice. New York: Free Press, 1966.
Kirkendale, Warren. Fugue and Fugato in Rococo and Classical Chamber Music. Rev. 2nd ed. Trans. Bent, Margaret and Warren Kirkendale. Durham, North Carolina: Duke University Press, 1979.
Mann, Alfred. The Study of the Fugue: The First History of Fugal Theory, Including Texts and Music of the Classical Treatises. New York: Norton, 1965.
Renwick, William. Analyzing Fugue: A Schenkerian Approach. Stuyvesant, New York: Pendragon Press, 1995. Walker, Paul Mark. Theories of Fugue from the Age of Josquin to the Age of Bach. Rochester New York:
University of Rochester Press, 2000.
Historical Works on 18th-Century Counterpoint
Albrechtsberger, Johann Georg. Gründliche Anweising zur Komposition. trans. Sabilla Novello. London: Novello, Ewer, and Co., n.d. (mid to late 19th cent.)
Bridge, J. Frederick. Double Counterpoint and Canon. New York: H.W. Gray Co., 1881.
Cherubini, Luigi. A Treatise on Counterpoint and Fugue. rev. Bennett, Joseph. ed. Halvey, Fromental. intro. Fétis, François-Joseph. trans. Clarke, Mary Cowden. New York: Belwin Mills, n.d. (1835) Fux, Joseph. The Study of Counterpoint from Gradus ad Parnassum. Trans. Alfred Mann. New York:
Norton, 1965.
Gedalge, André. Treatise on the Fugue. trans. Davis, Ferdinand. Foreword Milhaud, D arius. Norman, Oklahoma: University of Oklahoma Press, 1965.
Goetschius, Percy.
Elementary Counterpoint. New York: G. Schirmer, 1910.
––––––.
Applied Counterpoint.New York: G. Schirmer, 1902.
Jadassohn, S.
A Manual of Single, Double, Triple and Quadruple Counterpoint.7th ed., trans. Dr. Theodore
Baker. New York: G. Schirmer, 1902 from the 3rd German ed. of 1896.
Krumbholtz, Gerald. Friedrich Wilhelm Marpurg’s Abhandlung von der Fuge. (1753-54). Ph.D. dissertation: Eastman School of Music, University of Rochester, 1995.
Prout, Ebenezer.
Fugal Analysis.London: Augener, 1892.
––––––. Fugue. London: Augener, 1891.
––––––. Double Counterpoint and Canon. London: Augener, 1891. ––––––. Counterpoint: Strict and Free, London, Augner, 1890.
Schenker, Heinrich. Counterpoint: A Translation of Kontrapunkt. ed. Rothgeb, John. trans. Rothgeb, John and Jürgen Thym. 2 vols. New York: G. Schirmer: 1987.
Schoenberg, Arnold. Preliminary Exercises in Counterpoint. ed. Stein, Leonard.New York: St. Martin’s Press, 1964.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
Historical Works on Counterpoint, cont.
Taneiev, Serge Ivanovitch. Convertible Counterpoint in the Strict Style. trans. Brower, G. Ackley. intro. Koussevitzky, Serge. Boston: Bruce Humphries, 1962.
Works on Compositional Process & Its Use in Education in the 18th-Century
Eckert, Stefan. “‘So, you want to write a Minuet?’ Historical Perspectives in Teaching Theory.” Music Theory Online, vol. 11, no. 2 (June 2005).
http://mto.societymusictheory.org/issues/mto.05.11.2/mto.05.11.2.eckert.html
Federhofer, H. “Fux’s Gradus ad Parnassum as Viewed by Heinrich Schenker,” Music Theory Spectrum vol. 4, 1982:66-75.
Gjerdingen, Robert O. Music in the Galant Style. Oxford: Oxford University Press, 2007.
Kirnberger, Johann Philipp. The Art of Strict Musical Composition. trans. Beach, David and Jürgen Thym. Intro. and ed. Beach, David. New Haven, Connecticut: Yale University Press, 1982. Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge, Massachusetts: Harvard
University Press, 1992.
Mann, Alfred. The Great Composer as Teacher and Student: Theory and Practice of Composition. New York: Dover, 1994.
––––––. “Haydn’s Elementarbuch: A Document of Classic Counterpoint Instruction,” Music Forum vol. 3, 1970: 197-237.
––––––. “Beethoven’s Contrapuntal Studies with Haydn, ” Musical Quarterly vol. 66, 1970: 711-726. [Martino, Donald.] 178 Chorale Harmonizations of J. S. Bach: A Comparative Edition for Study. Newton,
Massachusetts, Dantalian, 1985.
Mattheson, Johann Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, trans. & ed. Ernest C. Harriss, (Ann Arbor, Michigan: UMI Research Press, 1981.
Mozart, Wolfgang. Thomas Attwoods Theorie und Kompositionsstudien bei Mozart. Neue Ausgabe Sämtlicher Werke, Werkgruppe 30, Band 1. New York: Bärenreiter. 1965.
Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice. Oxford: Oxford University Press, 2012. Todd, R. Larry. Mendelssohnn’s Musical Education: a Study and Edition of His Exercises in Composition.
Cambridge: Cambridge University Press, 1983.
18th-Century Aesthetics of Music
Baker, Nancy Kovaleff and Thomas Christensen. Aesthetics and the art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christ oph Koch. Cambridge: Cambridge University Press, 1995.
Bonds, Mark Evan. Wordless Rhetoric: Music Form and the Metaphor of the Oration. Cambridge, Massachusetts: Harvard University Press, 1991.
le Hurray, Peter and James Day. Music and Aesthetics in Eighteenth and Early-Nineteenth Centuries. abridged ed. Cambridge: Cambridge University Press, 1988.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
18th-Century Aesthetics of Music, cont.
Mirka, Danuta and Kofi Agawu, eds. Communication in Eighteenth-Century Music. Cambridge: Cambridge University Press, 2008.
Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: G. Schirmer, 1980.
Tuning and Temperament, Key Characteristics, and Cons. and Diss.
Barbour, J. Murray. Tuning and Temperament: A Historical Survey. East Lansing, Michigan: Michigan State College Press, 1951.
Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. Rochester, New York: University of Rochester Press, 1996.
Tenney, James. A History of ‘Consonance’ and ‘Dissonance’. New York: Excelsior, 1988. n.a. Tuning & temperament bibliography.
ftp://ella.mills.edu/ccm/tuning/papers/bib.html
18th–Century Performance Practice
Arnold, F.T. The Art of Accompaniment from a Thorough-Bass: As practised in the XVIIth & XVIII Centuries. vol. 1. New York: Dover, 1965.
Bach, C.P.E. Essay on the True Art of Playing Keyboard Instruments. trans. & ed. Mitchell, William J. New York: Norton, 1949.
Bach, Johann Sebastian. Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four parts… for His Students in Music. facisimile ed.. ed. Pamela Poulin. New York: Oxford University
Press, 1994.
Buelow, George J. Thorough-Bass Accompaniment according to Johann David Heinichen. rev. ed. Lincoln, Nebraska: University of Nebraska Press, 1986.
Cook, Nicholas. “At the Borders of Musical Identity: Schenker, Corelli and the Graces.” Music Analysis vol. 18, no. 2 (1999): 179-233.
Couperin, François. The Art of Playing the Harpsichord. ed. and trans. Halford, Margery. New York: Alfred, 1974.
Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, Massachusetts: Harvard University Press, 1996.
––––––. Bach’s Continuo Group: Players and Practices in His Vocal Works. Cambridge, Massachusetts: Harvard University Press, 1987.
Espinosa, Damian. C.P.E. Bach’s Fantasias: The Rhetorical Argument. Albuquerque: Masters Thesis, University of New Mexico, 2000.
Gjerdingen, Robert O. issue ed. Journal of Music Theory vol. 51, no. 1 on the Italian Thoroughbass Tradition, “Partimenti.”
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
18th–Century Performance Practice, cont.
Hefling, Stephen E. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inegales and Overdotting. New York: Schirmer, 1993.
Hudson, Richard. Stolen Time: the History of Tempo Rubato. Oxford: Clarendon Press, 1994.
le Hurray, Peter. Authenticity in Performance: Eighteeth-Century Case Studies. Cambridge: Cambridge University Press, 1990.
Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford University Press, 1999. Little, Meredith & Natalie Jenne. Dance and the Music of J. S. Bach. Bloomington, Indiana: Indiana Univ.
Press, 1991.
Mather, Betty Bang and David Lasocki. Free Ornamentation in Woodwind Music: 1700-1775. New York: McGinnis & Marx, 1976.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. trans. Knocker, Editha. Oxford: Oxford University Press, 1948.
Muffat, Georg. Georg Muffat on Performance Practice: The texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik. a new trans. with commentary David K. Wilson et alia. Bloomington, Indiana: Indiana University Press, 2001.
Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: G. Schirmer, 1993.
Quantz, Johann Joachim. On Playing the Flute. trans. and intro. Reilly, Edward R. New York: The Free Press, 1966.
Schulenberg, David. The Keyboard Music of J. S. Bach. New York: G. Schirmer, 1992.
Whitmore, Philip. Unpremeditated Art: The Cadenza in the Classical Keyboard Concerto. Oxford: Clarendon Press, 1991.
Williams, Peter. The Organ Music of J.S. Bach. 3 vols. New York: Cambridge University Press, 1980. ––––––. Figured Bass Accompaniment. 2 vols. Edinburgh, 1970.
20
th- and 21
st-Century Textbooks on 18th-Century Counterpoint
Gauldin, Robert. A Practical Approach to Eighteenth-Century Counterpoint. Englewood Cliffs, New Jersey: Prentice Hall: 1988.
Kennan, Kent Wheeler.
Counterpoint Based on Eighteenth-Century Practice,2nd ed. Englewood
Cliffs, New Jersey, 1972. 1st ed, 1959.
Kitson, C. H. Invertible Counterpoint and Canon. New York: Oxford University press, 1928.
Krenek, Ernst. An Outline of Tonal Counterpoint in the Style of the Eighteenth Century. New York: Boosey and Hawkes, 1958.
Morris, R. O.
Foundations of Practical Harmony and Counterpoint.2nd ed. New York: St.Martin’s Press, 1931.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
20
th- and 21
st-Century Textbooks on 18th-Century Counterpoint, cont.
Parks, Richard S. Eighteenth-Century Counterpoint and Tonal Structure. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1984.
Piston, Walter. Counterpoint . New York: Norton, 1947.
Richardson, A. Madeley. Helps to Fugue Writing: Based on Bach’s “Das Wohltemperierte Klavier.” forward Rubin Goldmark. New York: H.W. Gray Co., 1930.
Salzer, Felix and Carl Schachter. Counterpoint in Composition: The Study of Voice Leading. New York: McGraw-Hill, 1969.
Schubert, Peter and Christopher Neidhofer.
Baroque Counterpoint.Upper Saddle River, New Jersey: Pearson
Prentice-Hall, 2006.
Verrall, John W.
Fugue and Invention in Theory and Practice.Palo Alto, California: Pacific Books, 1966.
Some Analytical Monographs on 18th- (+ one 17th-) Century Counterpoint or Its Use
Anson-Cartwright, Mark. “Elision and the Embellished Final Cadence in J. S. Bach’s Preludes.” Music Analysis vol. 26, no. 3 (2007): 267-288.
Badura-Skoda, Eva & Paul. Interpreting Mozart: The Performance of His Piano Pieces and Other Compositions, 2nd ed. New York: Routledge, 2008
Beach, David. Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study. Rochester, New York: Rochester University Press, 2005.
Berry, Wallace. “J.S. Bach’s Fugue in Dƒ minor (WTC I No. 8): A naïve approach to linear analysis,” In
Theory Only, Vol. 2/10 (Jan. 1977), pp. 4-7.
Brinkman, Alexander. “The Melodic Process in Johann Sebastian Bach’s Orgelbüchlein,” Music Theory Spectrum, Vol. 2 (1980), pp. 46-73.
Bruhn, Siglind. J.S. Bach's Well-Tempered Clavier: Analysis and In-depth Interpretation. Hong Kong: Mainer International Ltd., 1993, four volumes.
Cinnamon, Howard, “Durational Reduction and Bach’s C Major Invention.” In Theory Only, vol. 7/1 (May 1983), pp. 25-36.
Harrison, Daniel. “Heads and Tails: Subject Play in Bach’s Fugues.”
Music Theory Spectrumvol. 30, no. 1
(Spring 2008): 152-163.
––––––. “Rhetoric and Fugue: An Analytical Application,” Music Theory Spectrum 7/1 (Spring 1990), 1-42.
Hermann, Richard. “Charlie Parker’s Solo to Ornithology: Facets of Counterpoint, Analysis, and Pedagogy” Perspectives of New Music vol. 42, no. 2 (Summer 2004): 222-262.
––––––. “Boundaries Transgressed: Text-Painting in Dido’s Lament.” unpub. paper delivered before the joint annual meetings of the Rocky Mountain Society for Music Theory and the Rocky Mountain Chapter of the American Musicological Society, hosted by Arizona State Univ., 31 March 2007.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
Some Analytical Monographs on 18th-Century Counterpoint or Its Use, cont.
Keller, Hermann. The Well-Tempered Clavier by Johann Sebastian Bach. trans. Leigh Gerdine. New York: Norton, 1976.
Larson, Steve. “J.S. Bach’s To-Part Invention in C Major.” In Theory Only, vol 7/1 (May 1983), pp. 31-45.
McKee, Eric. “Influences of the Early Eighteenth-Century Social Minuet on the Minuets from J. S. Bach’s French Suites, BWV 812-17.” Music Analysis vol. 18, no. 2 (1999): 235-260.
Neumeyer, David. “The Two Versions of J.S. Bach’s A-minor Invention [BWV 784].” Indiana Theory Review, Vol. 4/2 (1981), pp. 1-22.
Petty, Wayne. “C.P.E. Bach and the fine art of transposition.” in Schenker Studies 2. ed. Hedi Siegel. Cambridge: Cambridge Univeristy Press, 1999, pp. 49-66.
Riemann, Hugo. Analysis of J.S. Bach’s Wohltemperirtes Clavier (48 Preludes and fugues). 2 vols. trans. Shedlock, John South. London: Augener, n.d.
Schachter, Carl. “Bach’s Fugue in Bß Major, Well-Tempered Clavier Book I, No. XXI.” Music Forum,
Vol. 3 (1973), pp. 239-67.
Siegel, Hedi. “A source for Schenker’s study of thorough bass: his annotated copy of J.S. Bach’s
Generalbassbüchlein.” in Schenker Studies, ed. Hedi Siegel. Cambridge: Cambridge University Press, 1990, pp. 15-28.
Schenker, Heinrich. J.S. Bach’s Chromatic Fantasy and Fugue: Critical Edition with Commentary. trans. and ed. Siegel, Hedi. New York: Longman, 1984.
––––––. “A Contribution to the Study of Ornamentation” trans. Hedi Siegel in The Music Forum. vol. 4 eds. Felix Salzer and Carl Schachter. New York: Columbia University Press, 1976.
––––––. “The Largo of Bach’s Sonata No. 3 for solo violin” [BWV 1005]. The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. John Rothgeb. Cambridge: Cambridge University Press, 1994. pp. 31-8.
––––––. “The Prelude of Bach’s partita No. 3 for solo violin.” [BWV 1006] The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. John Rothgeb. Cambridge: Cambridge University Press, 1994. pp.39-53.
––––––. “Bach: Twelve Short Preludes, No. 6” [BWV 940] ), The Masterwork in Music: A Yearbook, ed. William Drabkin, trans. Hedi Siegel. Cambridge: Cambridge University Press, 1994. pp. 54-7. ––––––. “Bach: Twelve Short Preludes, No. 7” [BWV 941] ), The Masterwork in Music: A Yearbook, Vol.
1. (1925), ed. William Drabkin, trans. Hedi Siegel.Cambridge: Cambridge University Press, 1994. pp. 58-61.
––––––. “Bach: Twelve Short Preludes, No. 12” [BWV 942], The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Hedi Siegel. Cambridge: Cambridge University Press, 1994. pp. 62-66.
––––––. “Domenico Scarlatti: Keyboard Sonata in D minor.” The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Ian B ent. Cambridge: Cambridge University Press, 1994. pp. 67-74.
Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506
Richard Hermann, Prof. of Music, Univ. of New Mexico,
Center for the Arts, room 2104, [email protected], 505 277-2419
Fall 2013
Some Analytical Monographs on 18th-Century Counterpoint or Its Use, cont.
––––––. Domenico Scarlatti: Keyboard Sonata in G Major.” ), The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Ian B ent. Cambridge: Cambridge University Press, 1994. pp. 75-80.
––––––. “The Organic nature of Fugue, as Demonstrated in the C minor Fugue from Bach’s
Well-Tempered Clavier, Book 1” in The Masterwork in Music: A Yearbook, vol. 2, ed. Drabin, William. Cambridge: Cambridge University Press, 1996. pp. 31-54.
––––––. “The Sarabande of Bach’s Suite No. 3 for solo violon cello.” [BWV 1009] in The Masterwork in Music: A Yearbook, vol. 2, ed. Drabin, William. Cambridge: Cambridge University Press, 1996.
pp. 55-58.
Travis, Roy. “J.S. Bach, Invention No. 1 in C Major: Reduction and Graph.” In Theory Only, Vol. 2/7 (Oct. 1976), pp. 29-33.
Tovey, Donald Francis. A Preface: Forty-Eight Preludes and Fugues by J.S. Bach: Critical Explanatory Notes to each Prelude and Fugue. New York: Oxford University Press, 1924.
––––––. A Companion to “The Art of Fugue” J.S. Bach. London: Oxford University Press, 1931. Tussler, Robert. The Style of J.S. Bach’s Chorale Preludes. New York: Da Capo Press,
1968.
Väisälä, Olli. “Bach’s Inventions: Figuration, Register, Structure, and the ‘Clear Way to Develop Inventions
Properly’”.
Music Theory Spectrumvol. 31, no. 1 (Spring 2009): 101-152.
Willner, Channan. “Handel’s Borrowings from Telemann: An Analytical View.” in Trends in Schenkerian Research. ed. Allen Cadwallader. New York: Schirmer Books, 1990.
––––––. “Sequential expansion and Handelian phrase rhythm.” in Schenker Studies 2. ed. Hedi Siegel. Cambridge: Cambridge University Press, 1999, pp. 192-221.
Winold, Allen. Bach’s Cello Suites: Analyses & Explorations, 2 vols. Bloomington, Indiana: Indiana University Press, 2007.
Tonal Music Error Key Sheet
Richard Hermann, Assoc. Prof. of Music, UNM
1
ALWAYS REFER TO THE MOST CURRENT VERSION OF THIS ERROR KEY revised Aug. 15, 1997
Error Number Error Name and Commentary Page Description in Text Aldwell & Schachter, 2nd ed. VOICE-LEADING
Perfect Consonance Treatment
1. Parallel 8ves, 5ths or unisons pp. 72-3
2. Contrary 8ves or 5ths (also called antiparallel) between outer voices; weak otherwise pp. 74-5 but 8 to 5 or 5 to 8 are ok if in contrary or oblique motion
3. Hidden (also called implied or beaten) 8ves or 5ths between outer voices; pp. 75-6 approach or leave perfect consonances in outer voices by contrary or oblique motion
Dissonance Treatment
4. Chordal 7th not properly resolved (down by step to a cons.)
5. Chordal 7th not properly prepared by cons. (in Chorale/Hymn style only) 6. Dissonance not properly prepared by cons. (in Chorale/Hymn style only) 7. Dissonance not properly resolved by step to a cons.
8. Suspension-types 7-6 and 4-3 should not have their notes of resolution (6 or 3) sound simultaneously (in another voice) against the suspension’s diss. (7 or 4).
9. Mislabelled dissonance-type
10. Omitted dissonance-type in analysis, e.g. pt, N, IN, appog., sus., etc. 11. Dissonance-type not used in Hymn/Chorale style
Doubling Problems
12. Needlessly incomplete chord p. 65-6.
13. Incorrect: doubled scale degree 7 (leading-tone) in V, viiø , or vii° and their 7th chord versions; the same for applied leading-tones in applied V, viiø or vii°
harmonies and their 7th chord versions but ok within an expansion (except last chord of expansion) 14. Doubled altered, that is not in the key, tone (incorrect only in four or fewer voices)
15. V harmony in minor key needs a raised chordal 3rd; it is a major chord but for pp. 86-7 exceptions, see pp. 241-3, 260, 274-6, 427-9. (Also for raised root for vii˚ in minor)
16. Do not double dissonances in four or fewer parts
17. Do not double chordal 7ths in four parts or less; in more parts the less prominent chordal 7th
resolves up by step while the more prominent chordal 7th resolves normally, down by step to a cons.
Motion and Spacing Problems
18. Voice-crossing (avoid in Chorale/Hymn style & simple fig. bass only) p. 76 19. Voice overlap or underlap (avoid in Chorale/Hymn style & simple fig. bass only) p. 76 20. Incorrect use of melodic leap in Chorale/Hymn style or in simple fig. bass pp. 70-1 21. All voices in similar motion (but ok in arpeggio or within an expansion)
22. Scale degree 7 in outer voice of V, viiø or vii° harmonies and their 7th chord versions is not lead up by step to scale degree 1; the same for applied leading-tones in applied V, viiø or vii° harmonies and their 7th chord versions
23. Poor spacing of voices; adjacent voices too far apart, keep in P8ve or less pp. 67-8 (except tenor & bass which can be even a 12th apart)
24. Cross-relations (e.g. C then C#) are best in the same voice; not between outer voices p. 217 25. No melodic augmented or diminished intervals in Chorale/Hymn style except descending dim.
5th which is then lead up by semitone.
26. Aug. intervals are voice-lead outwards and dimin. intervals are lead inwards 27. Omitted voice (usually an inner voice) in your voice-leading
28. Transfer of preparation of diss. should occur in the same octave; it’s just in a different voice 29. Transfer of resolution of diss. or leading-tone in V or vii° or applied V or vii° should occur in
the same octave; it’s just in a different voice
30. Transfer of chordal 7ths into a different register can occur within an expansion but when the expansion ends, the chordal 7th must resolve (down by step to a cons. in the next chord) in the same (new) register.
31. Transfers should be indicated by connecting the pitches with dotted lines. 32. Voice out of range p. 64
33. Needs variety of types of motion between outer voices; use a variety of oblique, merging or diverging contrary, and similar motions
34. Needs rhythmic variety 35. Needs variety in range
Tonal Music Error Key Sheet
Richard Hermann, Assoc. Prof. of Music, UNM
2
ALWAYS REFER TO THE MOST CURRENT VERSION OF THIS ERROR KEY revised Aug. 15, 1997
FIGURED BASS 37. A figure not called for by the figured bass is in your voice-leading
38. A number from the figured bass that is either literally specified or understood (implied) is not present in the voice-leading
39. Horizontally aligned figured bass numbers must be reflected in the voice-leading by placing them in the same voice
40. Omitted figured bass in analysis 41. Mislabelled figured bass
42. Improper rhythmic alignment of horizontal figures in the figured bass; a figure further to the right occurs later in time
43. Do not double 4th (diss.) measured from bass in six-four chords; usually bass note is doubled
44. Six-four chord improperly used. pp. 284-304.
HARMONY
Progression Problems
45. Chord not studied yet: used incorrectly or avoid until studied
46. Poor harmonic progression (chords enclosed within a box-like figure) 47. Change harmony across barline unless part of a multi-measure expansion 48. Maintain harmonic rhythm here
49. End in the home key but there are a few exceptions in the literature that frequently have to do with text painting in vocal music
Chord Structure Problems
50. Diminished triads in six-three except in circle-of-5ths sequences on weak time units and as the back end of a supertonic voice-exchange in minor keys, that is 6-10 never 10-6; but voice-exchanges starting with ø 7& ˚ 7 are ok.
51. Applied (also called secondary) V or vii° chords and their 7th chord versions used incorrectly; applied V has root motion up a 4th or down a fifth to the next chord and must have a major t riad and may have a m7th; applied vii° has a root motion up a semitone to the next chord and must have a diminished triad and either a m7th or ° 7th. The next chord may not be based on a diminished triad; however, see pp. 530-34
52. Augmented triads not part of 18th and early 19th century style; no augmented III chord in minor keys 53. Chord can’t simultaneously have two different qualities: e.g. majorand minor or minorand
diminished etc.; check the chord and your analytical symbols and correct. 54. Chord structure is incorrect; no such chord in traditional tonality
Chord Labeling Problems
55. Mislabelled chord quality (maj., min., dimin., half-dimin., etc.): I = major, i = minor, ii° = dimin., iiø = half dimin. seventh chord
56. Omitted harmonic roman numeral in analysis
57. Mislabelled root of harmony (wrong roman numeral) in analysis or function (e.g. not an applied V, etc.) 58. Enharmonic equivalent harmony, tonal region, or key is the better understanding here
Expansion Problems
59. Expansion not labelled in analysis 60. Incorrect expansion in analysis
61. Incorrect non-structural chord within expansion 62. Omitted voice-exchange in analysis
63. Voice-exchange incorrect; must be 10-6 or 6-10 between the same pair of voices (e.g. sop. & bass or alto & tenor, etc.) and both chords must have same harmonic function; six-four chords do not
participate in voice-exchanges because they are usually dissonant chords
64. Expansion does not extend over into the next phrase. This next phrase is a “new beginning” in character. 65. Include the non-structural chords of an expansion within ( )s.
66. Durational emphasis (agogic accent) of a chord or expansion of a chord should emphasize the meter but ok if another meter is temporarily in action (e.g. a hemiola)
Tonal Music Error Key Sheet
Richard Hermann, Assoc. Prof. of Music, UNM
3
ALWAYS REFER TO THE MOST CURRENT VERSION OF THIS ERROR KEY revised Aug. 15, 1997 Modulation & Tonicization Problems
68. Omitted Pivot chord in analysis
69. Mislabelled pivot chord in analysis (wrong location)
70. Not a pivot chord because this chord does not occur in both tonal regions or “keys” 71. Mislabelled modulation-type in analysis; types are pivot, chrom., sequence, & enharm. 72. Omitted modulation-type in analysis
73. Needs variety of tonal regions (“modulation”) or harmonic variety 74. Mislabelled key or tonal region
75. Omitted key or tonal region in analysis
Mode Mixture and Sequence Problems
76. Mislabelled mode mixture-type 77. Omitted mode mixture-type in analysis
78. Altered root of chord not indicated in the analysis. Sharp, flat, or natural sign is missing from in front of the roman numeral
79. Mislabelled sequence-type
80. Omitted Sequence-type in analysis
81. Sequence-type not studied: used incorrectly or avoid until studied
82. VII (subtonic) is used for the circle-of-5ths sequences in minor keys and not vii° (leading-tone); recall VII’s root is the key signature’s 7th scale-degree and vii° ’s root is the raised 7th scale degree
CADENCES
83. Bass motion in authentic cadences must be scale degree 5 to scale degree 1. (root position chords); this is not a cadence because the bass line is incorrect
84. Bass note of V harmony in half (also called semicadence) must be scale degree 5 (root position chord) 85. Harmony of V in half cadence is a pure major triad in 18th century music; sometimes a V7 in
19th cent. music; half cadence also called semicadence 86. Cadential six-four chords start on strong time units
87. Deceptive cadences are followed immediately by authentic cadences
88. Deceptive cadences do not end pieces, and they usually are not the first cadence in a piece 89. This is not a cadence because the harmonic progression is incorrect
90. Label of AC for authentic cadence is not enough: PAC or IAC here: PAC has soprano on chordal root; IAC has either chordal 3rd or 5th in soprano.
91. Mislabelled cadence-type 92. Omitted cadence-type in analysis
93. Plagal cadences (“amen” cadences) are usually embellishments of the final tonic chord of an authentic cadence. It is typically more of a type of cadential e xtension than an independent cadence. 94. Cadence missing in your writing assignment
95. Fermata usually indicates cadence location in J. S. Bach chorales; it does not mean hold the chord.
MISCELLANEOUS
96. Incomplete paper, complete and turn in again for a grade within one week. I will correct and return incomplete homework only if I have the time.
97. Two different pitches that share the same letter-name are simultaneously present (in Choral/Hymn style only). e.g. C and C#
98. Incorrect stem direction: notes on staff above midline have descending stems; notes beneath midline have ascending stems; notes on midline may have stems in either direction; when two voices share the same staff, the usually higher voice has all of its notes stemmed upwards and
the usually lower voice has all of its notes stemmed downwards even if they cross. 99. Voices are not in proper vertical (harmonic) rhythmic alignment
100. Needs articulation or variety of 101. Needs dynamics variety of
102. Label how phrases relate to one another; e.g. parallel period, contrasting period, etc. 103. Do not change or omit given material.
104. Do not add to given material.
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Richard Hermann, Prof. of Music, Univ. of New Mexico Room 2104, Center for the Arts, [email protected], 277-2419
