Ted Goldman | Eastman | Spring 2013 Class Resources and Materials

        Contemporary Music 582

Final classes

Due Mon 4/15

Due Sun 3/31
  • Lerdahl Questions

Due Mon 3/25

Due Mon 3/18

Due Mon 3/4

Due Mon 2/25

Due Mon 2/18

Due Mon 2/11

Due Mon 2/4

Due Mon 1/21 

Questions? Contact me at:

     Graduate Theory Review 118    

Dictation Practice 161 | 162 | 261 |  Skills 2 PDF and MP3
Final Exam: ESM 120 Wed, May 8, 3:30pm-6:30pm

Final Exam Contents and Review (notes from class)
  • Blank exam example
  • For more practice, try harmonizing the last example of Skills 2, starting from melody or bass.  

Forms, for reference:

Final Project, Due Thu 5/2 by 5:00 p.m.
  • Instructions and score
  • YouTube recording 
    • Starts with a commercial, but this 10-year old has a very nice sense of form!
    • You can use any recording, but many of them are very fast and much less clear.  
To help with the harmony:

Due Fri 4/19 
  • Practice for Skills 2 -- note your time
  • For practice, not to turn in, finish diagramming the sonata from class.  
  • Review the other sonatas we've looked at and be sure you could diagram a normal sonata form in a test environment (maybe 1 or 2 hearings of the piece and about half an hour of time).  Method: mark themes and cadences on score as you listen, but don't worry to much about getting it perfect; then go back and check and adjust as you make your diagram.  

Final Analysis Project Preview (official guidelines to follow)
  • Music will be be one of:
    • Schumann Aufschwung
    • Chopin Mazurka Op. 33 no. 2 or 4
  • Make a diagram of the form like we've done in class
    • Include nested forms (binary or ternary)
    • Keys and Cadences and important harmonies as Roman numerals and letter names
    • Measure numbers
  • Write 250-500 words, typed, highlighting
    • Interesting/unusual formal features
    • Important harmonic features (chromatic harmonies, key relations, modulation types, etc.)
    • The way your analysis can inform an expressive understanding of the music

Due Weds 4/14
Turn in: dictation Quiz 1, Ex. 1,2,3 
(Credit: Michael Horvit, Timothy Koozin, and Robert Nelson, University of Houston) 
  • Include outer voices and Roman numerals.  
  • Augmented 6ths and Neapolitan, non-modulating.
  • Note that you can now download this whole website for free as an offline practice tool.  
Review: Sonata forms from class (Beethoven Op 14 no. 1 and 2, first movements)

Practice: Skills 2 on Friday

For Reference
Beethoven Op. 49 diagrams and marked score -- no guarantees that these are 100% error free, so be sure to double check!  

Due Mon 4/12
Diagram the sonata form of Beethoven Op. 14, No. 1, first movement.  Include:
  • Exposition (FTA, tr, MC, STA, CL, coda ), Development (x/digression, re-tr, MC), Recapitulation (FTA, "tr,", STA, CL, coda)
  • Include measure numbers along the bottom for each section of the form
  • Include the starting and ending key and Roman numeral of each section of the form
  • Make an asterisk (*) and explain any unusual places in the form. 
  • You do NOT need to label nested forms or sentences/periods
  • Hint: the Recap FTA has the same theme but a different texture from the Exp FTA
Dication Quiz 2, #1-3
  • Outer voices
  • Scale degrees and Roman numerals
Practice for Skills 2, due Fri 4/19. 

Start practicing Skills 2 due next Friday, 4/19.
Rondo Practice
  • Mozart K. 533 Rondo diagram from class
  • Make sure you can diagram the Rondo on p. 245 of the textbook (the answer is on p. 250).
  • The book says that there are nested rounded binary forms in some of the sections.  Do any of them seem like nested ternary forms instead?  Why?  
Due Mon 4/8
Make a diagram of this Chopin Mazurka (Bb major, Op. 17 no. 1, first two pages of PDF)
  • Note the Da Capo at the end!
  • Include any sentences or periods, nested forms (binary or ternary), re/transitions, etc.
  • Make a * and explain anything unusual, if necessary.  
Complete Dictation Quiz 1, Ex. 1-3 (Credit: Michael Horvit, Timothy Koozin, and Robert Nelson, University of Houston) 
  • Notate outer voices on staff, scale degrees, and Roman numerals
  • Sing back your answers 4 ways: scale degrees, qualities with inversion, Roman numerals, and note names

Due Fri 4/5
Check to be sure you can diagram the ternary form of the pieces from class today -- don't worry about the form within each ternary section.  
Recordings are available on YouTube, IMSLP, and Spotify.  We listened to the Beaux Arts trio and the Emerson quartet.  

Due Mon 4/1
15.3A: Draw a form diagram
  • Ignore the questions in the book
  • Draw and label a diagram that includes the
    • ternary form, 
    • any transitions and retransitions, and coda
    • any nested forms, 
    • any sentences and periods
  • Label any chromatic harmonies
From class (no guarantees that these are error-free, so double check!)

Due Fri 3/29
  • Augmented 6th chord review -- complete on this sheet.

Midterm Recipe - Due Mon 3/25
Modulate from D major to f# minor. 
  • Write a tonic expansion in D major using viiº7.
  • Starting on the tonic, write a -4/+2 sequence (Pachelbel).  
    • Include V7/vi
    • The sequence should work melodically and harmonically (no random melodies)
  • When you reach IV, write a deceptive cadence
    • before you reach the cadence, include V7/V
  • Use the deceptive chord as a pivot and establish f# minor ("weak cadence" in f# minor)
  • Write a PAC in f# minor ("strong cadence")
  • Label all Roman numerals
  • Box pivot
  • Use good voice leading!
Use between 15 and 20 chords.  

Due Wed 3/20
  • Form IDs 
    • Identify binary form and 
    • Identify any sentences or periods
    • Ex. 1 - only Gavotte I (PDF p. 9, score p. 38)
    • Ex. 2 - only "Tema" of last movement (PDF p. 12)
    • Ex. 3 
  • Harmony
    • Chopin nocturne, mm. 1-20
      • ID: bII (Neapolitan), Aug6th chords, applied dominants, mixture

Due Mon 3/18 Practice Midterm
Bring to class, but this is not to turn in. We will go over the answers in class on Monday.  
Score analysis 
  • Workbook 12.13.  Ignore the questions in the book.  Label:
  • Binary form type
    • And indicate formal sections on score (A, A' medial caesura, x, B)
  • Any sentences and periods
  • Applied chords and their resolutions
  • Mixture chords
  • Keys
    • If the key changes, label the pivot chord
Dictations: 6 hearings
  • Notate outer voices and Roman numerals
  • includes applied chords, mixture, sequences
  • Use the time in between hearing to fill in as much as possible, and remember that your melody and bassline will always make sense together.  
  • Sometimes one of the middle voices is louder than the top or bottom in these recordings
  • Practice dictation answers!
Recipe 1: with good voice leading!
  • Modulate from I to V in D major
  • Establish original key via a tonic expansion
  • Write a deceptive cadence
  • Use the vi from the deceptive cadence as a pivot
  • Write a weak cadence in A
  • Write a strong cadence in A including a cadential 6/4
  • include a mixture iv chord in your progression
Recipe 2: with good voice leading!
  • Modulate from I to bIII in F major
  • Establish original keyby writing a +4/-5 sequence including viiº/vi and V7/V.
  • Pivot on mixture iv
  • Establish the new key
  • End on a mixture deceptive cadence in bIII. 

From class 3/6
Due Wed 3/6
  • Notate soprano and bass in the key of your choice
  • Include scale degrees, qualities, and Roman numerals
  • If there is a modulation, label pivot and new key.  
  • NOTE: You do NOT need to rewrite every chord.  Usually only ONE chord changes at a time, but sometimes more change.  
Also, review the chord progression from today and make sure that writing and resolving bII and Aug6 is clear.  

Due Monday 3/4
  • Write and resolve bII6/3 (the Neapolitan) and German Aug6th (Gr6/3)
  • in keys F and f, E and e, Eb and eb
  • 4 voices
  • with Correct spelling
  • try to resolve in as many correct ways as possible

Due Fri 2/27
Keep practicing what you need to for the midterm: 
  • Dictation (see links above)
  • Recipe chord progressions
  • Score analysis (piano, vocal, or string quartet)
Harmony including modulation with pivots, applied chords (V/x and viiº/x), mixture, cadences (deceptive, HC, IAC, PAC, with Cad 6/4-5/3), sequences

Form including binary (rounded, sectional, simple), and phrase types (various periods; sentences)

Due Mon 2/25: Skills 1  
  • Check your time slot: Skills 1 Times
  • You will see outer voices, but play all 4. You can play 3 in the right hand and 1 in the left, or 2/2.

Due Wed 2/20
  • Write out a solution for Skills #1. 
  • Skills 1 will be next Monday, 2/25.  If you have a conflict, you can arrange to take it early.  
Music History (in Spanish, but it doesn't matter.)

Here is Friday's diagram of modulation using mixture pivots.  No guarantees that this is 100% error free, but maybe nice to have on hand.

Due Mon 2/18
Dictations involving V/x and viiº/x
  • Notate 4 ways: pitches, scale degrees, Roman numerals, qualities
  • Sorry for the noise: you can hear the clunky keys of my office keyboard, and "expressive breathing" between chords!
For practice: mini dictations involving modulation and mixture
  • The early ones change one chord from diatonic to mixture
  • The later ones modulate with pivots
  • And the last ones modulate using mixture pivots
  • All start in C major, and you should be able to notate pitches, qualities, scale degrees and Roman numerals
Due Weds 2/13
  • Add upper voices to bass lines from 2/11
    • with good voice leading 
    • Include a cadential 6/4 and PAC in the new key.  
  • 1 new bass line including a sequence(bass only):
    • Modulate from A major to E major
    • Establish original key
    • Begin a +4/-5 sequence in root position.
    • Somewhere in the sequence, pivot to E major
    • Cadence in E major
  • Note: you can use the chart we made in class to help you find a good pivot!
Due Mon 2/11
Turn in: 
  • Write a bass line that implies a modulation from 
    • A major to f# minor
    • A minor to F major
    • Label Roman numerals and box pivot
  • Do it in this order
    • Establish the original key
    • Find a pivot
    • Cadence in new key
For review, not to turn in:
  • Bach Chorales you can use to practice labeling modulations in context.  
Due Fri 2/8
  • 12.4
  • For aural skills practice, sing outer voices on SDs, RNs, Names, and Qualities
Due Wed 2/6
Review returned HW and come with any questions.  

Due Mon 2/4
  • Key
  • bass line
  • Chord quality (M, m, º, 1/2º, Dom7)
  • Roman numerals (including V/x or viiº/x)
  • The soprano will give you some hints

Due Fri 2/1
  • Corrected sequence
    • On the old version, circle and label errors
    • Write a new version 
      • add two suspensions
      • turn one of your V/x into viiº/x
  • 11.11 - Labeling tonicizations
  • 12.12 - Form IDs

Due Mon 1/30
  • Correct circled parts of returned HW:
    • Res = resolution
    • V.L. = voice leading
    • Circle = at least one note is wrong or missing
  • 11.1 and 11.4
For your practice:
  • Practice your aural skills by singing top, bottom, and chromaticized lines of the HW on scale degrees, Roman numerals, and solfege.  
Due Wed 1/23
Write a sequence following these guidelines:
  • Write a -5/+4 (descending 2nd) sequence in Eb major
  • starting on I 5/3
  • every other chord in first inversion (6/3) 
  • using exactly two secondary dominants
  • cadence using a cadential 6/4 (V6/4-5/3).  
  • in 3/4 time
  • watch out for the metric placement of the cadential 6/4
  • include at least 2 copies of your model
Due Fri 1/18
  • 11.2 modified: for A, B, and C, change one secondary V into a secondary viiº7.  For instance, you could change V/ii into viiº/ii.  
  • 11.3: also be sure to listen to the examples on the CD and take note of the sound of each secondary dominant.  
Due Wed 1/16
Download the syllabus

© 2009-2013

American Inventors 402          

Due Wed 5/1: Final Project

Due Tue 4/16
Ives / Cowell composition.  All of these must be programmatic in some way, and they can't directly copy Ives or Cowell.  3 options:
  • Ivesian song, using creative, "locally systematic" techniques to express the text. 
    • You don't have to sing it: you can speak while one of our winds plays the melody with the piano
    • Examples: The Cage, Soliloquy
  • Ivesian "multi-stream" piece
    • More than one kind of music happening at once in different tempi, keys, textures, etc. to evoke a title concept
    • Examples: Unanswered question; Central Park in the Dark; Housatonic (Orch. Version)
  • Cowellish piano piece
    • Using clusters and/or string piano techniques.
    • If you choose this option, your technique must be essential to your piece -- it can't just be a piano piece with some gimmicks.  
    • Examples (see below)
As usual
  • 1-2 minutes (some of them have been less than one minute -- make sure to time yourself)
  • Doesn't need to sound like Ives/Cowell, but must explore their techniques
  • Include a self-analysis of your composition, including the streams of music, polytonality, and specific indications of how your music expresses the program outlined by your title or your text.  
For Reference
Cowell little piano pieces using clusters and string piano technique:

Due Tue 4/9
Compare two versions of Ives' "The Housatonic at Stockbridge"
  1. What are the streams of music in each version?  
  2. Does Ives text paint?  How? 
  3. What's going on harmonically?
  4. How does Ives use quotation? 
  5. Speculate: to what extent are the two versions the same piece?  
You can answer (1)-(4) on score or in writing.  (5) should be about a page of text.  

See the songs and orchestra pieces we've studied for reference; this is a great example of Ives using the same material in both contexts.  

Due Thu 4/4
  • Read Ives' Essays Before a Sonata through the prologue. Does Ives' writing seem like his music?
  • Listen to Ives' Sonata No. 2 ("Concord") Start with "The Alcotts" movement -- it's the easiest to get into, and then listen to the others. What are the main materials and organization? 
  • Start thinking about text you might want to use for an Ivesian song...
Due Tue 4/2
  • Listen to and analyze Ives' song, "Like a sick eagle," 
  • On separate copies of the score or in different colors, indicate
    • Text painting
    • Motivic/thematic materials
    • Pitch materials (scales/collections/keys, important chords, transpositions, etc.)
    • Anything else you thing is important
  • Write up a text summary of what you showed on score.  
Due Tue 3/26: Set/Serial Compositions.

Due Thu 3/21
Read Fred Lerdahl's "Cognitive Constraints on Compositional Systems" and turn in responses to two questions (3 typed pages):
  • 1) Choose a constraint to add or subtract.  Back up your decision with reference to specific examples of music we have studied. 
  • 2) Choose a constraint and describe the way it applies/doesn't to Cage, Nancarrow, Webern.  Use specific examples.  
Looking ahead: our set/serial composition class will be next Tuesday.  We will discuss techniques and guidelines on Thursday.

Due Thu 3/7
  • Read Analyzing Serial Music, by Nicholas Cook focusing on the material up through p. 311.
  • To hand in: make a matrix for the row on p. 298, figure 144. Label each row and column with the appropriate Px, Ix, Rx, RIx. Please do by hand!
  • Be sure to listen to the examples, so they're not just dots on a page.

Due Tue 3/5
Webern Op. 7 analysis: movement IV only
  1. Segmentation
  2. Labeling set classes
  3. Justification of segmentation (~1 double-spaced page)
    • Why/how did you choose your segmentation?
    • What patterns/consistencies does it reveal, if any?  
  4. Relation to first movement (~1 doubled-spaced page
  • Turn in marked score (1,2) and writing (3,4).

Set Calculator: use with caution!
Set Clocks: for printing

Due Tue 2/26
Here is a refresher on our introduction to set theory.  See bottom of page for set-clock method.

Short answers, to turn in. Set classes in:
Check in Due Monday 2/18 at 5pm; Final Compositions Due Thu 2/21.

Due Tuesday: Nancarrow compositions check in:
  • Send me a test MIDI file of your canon so we can be sure that everything is working correctly.
  • We will "perform" these on Thursday.
Composition guidelines:
  • Does NOT have to sound like Nancarrow
  • Does NOT have to be tonal
  • But must use Nancarrow's techniques
    • Tempo/ratio canon
    • At least 3 voices
    • At least 1 convergence point
    • Cannot be *too* similar to something Nancarrow did -- the point is explore what one could do with these techniques.  
  • 1-2 minutes long
  • Here is a list of Nancarrow's studies, for inspiration and so you don't repeat something Nancarrow did!
To turn in (Thursday):
  • MIDI file 
  • Music notation of an individual line from your canon.
  • Diagram of the overall form and process.  (A drawing on blank paper is fine.)  
  • Description of composed structure vs. perceived structure
  • Be prepared to discuss these points briefly in class.  
Due Thu 2/14
For discussion, not to turn in:
  • Listen to Nancarrow: Canon X, with piano roll video
    • What's going on?
    • Is anything about the canon NOT strict?
    • Can we relate this procedure to any older music, or is it totally new?
  • Check out Alarm Will Sound's album A/Rhythmia
    • Compare their transcriptions of Study #3a and Study #6 to the player piano versions. Preference?
    • See video description for links to tracks.  
    • You can search YouTube for the piano roll view of #3a and #6
Due Tue 2/12
Nancarrow analysis 
Due Thu 2/7
For discussion, not to turn in: listen to Nancarrow Study No. 11.  
  • Try to find the isorhythmic process(es).  (This is not a research project.)
  • Here are the first few pages of the score. It may help to watch the YouTube version that displays the piano roll.  
  • Any other observations?
  • Also make sure you are clear on traditional isorhythm.  
Due Thu 2/2
Cage Compositions. Guidelines:
  • 1-2 minutes
  • Does NOT have to sound like Cage, but must use Cage's techniques
  • Bring copies for the class
  • Use "found sounds" -- be creative!
  • Use proportional form
  • Use a system of rhythmic motives
  • Must have at least two lines/parts/staves
  • To be performed in class (by you and classmates)
  • Be prepared to spent a few minutes describing the structure and techniques of your piece, and how it relates to Cage -- what you used, built on, changed, etc.
  • Turn in a copy of your composition with the form, motives, and processes marked

Due Tue 1/31 
8 minute presentation on a Cage Sonata
Due Thu 1/24
To hand in: short responses (a few sentences each) to Cage Imaginary Landscape No. 3
  • Listen (no score needed) (or Library CD 27,426)
  • How would you describe the overall form? (ABCD? ABCBA? AA'A''B? etc.)
  • Is this a traditional form? (yes/no/why/examples)
  • How would you relate this piece to the Constructions and Imaginary Landscape No. 1?
  • Is pitch important or incidental?  Why?
Due Tue 1/22: Cage Analysis 1
Due Thu 1/17
All for discussion, not to turn in:
Finish listening to Cage 1st Construction.
Listen to Cage 3rd Construction
Read Cage's Silence