Compact Disc for The Analysis of Musical Form

 

 

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Mathes, Analysis of Musical Forms, Play list for 2 accompanying CDs.

 

Chapter 1  duration: 7:30

 

Figure 1.  Basic Shape of Chopin, Prelude No. 1 in C major, Op 28

 

Aural Exercises:

1.Handel, Messiah, The Lord Gave the Word  (CD 2) beginning to :40

2. Kurt Weill, Lady in the Dark, My Ship  (CD 3)

4. Bach, WTC 1, Prelude In E (CD 5)  Also used in Aural Exercises Ch 2

5. Beethoven, Sonata Op 2  No. 2, III Scherzo CD (6) Also used in Aural Exercises Ch 2

 

Chapter 2: duration 12:00

 

Example 2.4 a-f  Authentic Cadences  CD1: 7-12

a.       Bach G Minor English Suite, Prelude, mm. 29-33

b.      Mozart, Cosi, No. 17, mm. 21-24

c.       Handel, Messiah, Hallelujah Chorus last phrase

d.      Schubert, Erlkonig, last phrase

e.       Brahms, Intermezzi in A op 118 no. 2 mm. 7-8

f.       Mozart Symphony #41, IV mm. 145-150

 

Example 2.5 Half Cadences CD1: 13-15

a.       Bach, Brandenburg Concerto No. 4, II, ending.   Phrygian HC.

b.      Mozart, Cosi fan tute, No. 1.  mm. 6-11

c.       Brahms,  Intermezzo Op 119, No. 2 mm. 32-35  tonicized HC

 

Example 2.6  Deceptive Cadences CD1: 16-19

a. Mozart,  Cosi fan tutte, No 9. Farewell Quintet, mm. 17-19  CD1-17

b.  Bach, Prelude In E from the WTC I, conclusion.  CD1-16

c.  Bach, Brandenburg Concerto No 5, I, mm. 124-126

d. Chopin,  Impromptu No. 2 in F#  mm. 35-39

 

Example 2.7 Plagal Cadences CD1: 20-23

a.       Handel, Messiah,  Hallelujah Chorus, final cadence

b.      Brahms, Sonata for Clarinet and Piano Op. 120, No 1 conclusion

c.       Wolf,  In Dem Schatten,  final cadence.

d.      Schumann, Humoreske, Op 20, final cadence.

 

 

Example 2.9.  Modulations CD1: 24-25, 54, 26

a.       Bach: Brandenburg Concerto No. 2, I mm. 96-104

b.      Haydn: Symphony No. 104, Minuetto  mm. 1-16

c.       Schubert: Symphony No. 8 mm. 36-40  (CD1-54)

d.      Liszt: Valle D’Obermann  mm. 1-8

 

Example 2.11. Bach, Two-Part Invention in D minor

 

Chapter 2 Aural Analysis  CD1: 28-37

1.  Vivaldi Four Seasons:  Spring   E major  See Ex 3.12a  (CD 28)  first two phrases

2.  Haydn, Symphony 93 in D major, IV  measures 1-16  (CD 29)

3.  Mozart Symphony No. 40, IV  mm. 1-16  (CD 30)

4. Brahms, Piano Quintet in F Minor, III Trio in C major   (CD 31)

5.  Tchaikovsky  Nutcracker Suite, Bb major (CD 32) beginning

6.  Bach. Brandenburg Concerto No. 3, mm.  (CD 33) mm. 1-8

7. Mozart, Cosi Fan Tutte, No. 9 in F major (CD 34, duplicates CD1-17)

8. Verdi, Overture to La Traviata,  E major  mm. 1-16  (CD 35)  shorten, only need last  15 seconds.

9.  Chopin, Fantasie, Ab major closing  (CD 36)

10.  Handel:  Messiah Overture  E minor (CD 37)  mm. 1-12

 

Chapter 3:  duration  8:00  (could omit Ex 3.9a-c from CD if necessary)

 

Example 3.3 Tchaikovsky, Symphony No. 4, II, mm. 1-21.  CD1-38

Example 3.4 Bach,  Goldberg Variations,  Var. 1, beginning CD1-39

Example 3.5  Mozart, Piano Concerto in A major, K. 488, I,  mm. 1-8  CD1-40

Example 3.7. Dvorak: Symphony No. 8, IV, Principal Theme CD1-41

 

Example 3.8  Sentence Structures:  Statement/Repetition---Continuation/Cadence, CD1-#42-43, 67

1. Beethoven: Contra Dance
2. Chopin:  Mazurka, Op. 67, No. 3, C major
3. Verdi:  Aida, “Celeste Aida,” mm. 1-8  CD1-67

 

Example 3.9 Periodic Phrase Structures  (CD1-44-46)

 

1. Haydn, Symphony No. 104, II, mm. 1-8
2. Tchaikovsky: Nutcracker Suite, Overture, mm. 1-8
3. Beethoven, Ode to Joy, mm. 1-8

 

Example 3.10  Periods using sentence structures

1. Mozart, Piano Sonata in A major  K. 331, I, mm. 1-8
2. Schubert.  Impromptu No. 2 from Four Impromptus, Op. 42  mm. 1-1

 

Example 3.11 Sixteen-measure sentence incorporating an eight-measure period  Mozart Symphony No. 41, III, Minuet, mm. 1-16  CD2-8

 

Example 3.12 Repeated Phrases

1. Vivaldi:  Concerto, Op. 8, No. 1 in E major, “La Primavera” (“Spring”), mm. 1-6 CD1-28 used in Aural Exercises above
2. Beethoven:  String Quartet, Op. 131, IV, mm. 1-6  CD1-47   CD4-2 has entire movement

 

Example 3.13.  Handel: Overture to Messiah, mm. 1-12. CD1-37 used in Aural Analysis

 

Example 3.14  

            a. Bach, Cantata No. 4, III,  mm. 1-5  CD1-48

b. Bach, Sonata No. 3 for Violin, BWV 1005, Largo 

 

Example 3.15.  Ritornello Models of Phrase Structure CD1-49-59

1. Handel:  For unto us a Child is Born, from Messiah, mm. 1-7
2. Bach:  Brandenburg Concerto 5, I, mm. 1-9

 

Exercise 3.4b  Amy Beach, Scottish Legend for piano, mm. 1-8

 

Chapter 3 Aural Analysis  ( All tracks duplicated above)

1. Schumann, Fantasiestucke, No. 2 Aufshwang  6/8 CD 27

2. Vivaldi Four Seasons:  Spring   E major    CD 28

3.  Haydn, Symphony 93 in D major, IV   CD 29

4.  Mozart Symphony No. 40, IV mm.   CD 30

5.  Brahms, Piano Quintet, III,  Trio C major  CD 31

6.  Tchaikovsky, Nutcracker Suite, Bb major   CD 32

7.  Bach. Brandenburg Concerto No. 3, I, mm. 1-8 CD 33

8.  Handel, Messiah, For Unto Us A Child Is Born  CD 49

 

Chapter 4:  duration 8:00  (could omit  4.4a, 4.5 from CD if necessary)

 

Example 4.1  Chopin, Mazurka,   Op.  67, No. 3  mm. 7-8  CD1-43  (used in Ex. 2.9c)

Example 4.2, Chopin, Waltz,  Op. 69, No. 2, (Posthumous) mm. 1-16  CD2-17

Example. 4.3  Phrase Overlap.  Mendelssohn, He Watching Over  Israel,

mm. 19-22  CD1-52

 

Example 4.4 Accompaniment as introduction to phrase  CD1-53-54, 86

1. Mozart: Symphony No. 40, I, mm. 1-5
2. Schubert, Symphony No. 8, I, mm. 38-44  (used above in Ex. 2.9)
3. Verdi:  La Traviati, Overture, mm. 15-19

 

Example 4.5 Motivic Anticipation as Phrase Introduction CD1-55-56

1. Beethoven: Symphony No. 5, I, opening.
2. Franck: Violin Sonata, I, opening. 

  Example 4.6 Melodic lead-in as elongated upbeats to phrases CD1-57-58

1. Chopin: Waltz, Op. 64, No. 1, opening  CD1-58
2. Haydn: Symphony No. 101, I, Allegro, mm. 24-33  CD1-57

 

Example 4.7 Beethoven, Symphony No 9, II, mm. 177-185  

  Example 4.8 Phrase Extensions  CD1-59-61

a.   Hadyn, Symphony No. 104, III mm.42-51

b.   Verdi, La Traviata, end of Act I CD1-61

c.   Schubert, “Muth” from Die Winterreise CD1-60

 

Example 4.9 Internal expansions of phrases CD1-62-63

1. Beethoven: String Quartet, Op. 18, No. 5, III, mm.1-12
2. Haydn: Symphony No. 104, III, Trio, mm. 1-12

 

Example 4.10 Internal phrase expansions as part of the basic phrase CD1: 64-65

1. Dvorak: Symphony No. 8, III, m.1-11
2. Brahms, Variations on a Theme of Haydn, m.1-5

  Example 4.11 Phrase contractions  CD1-66-67

a.    Haydn Symphony No 104, I, mm. 17-34

b.    Verdi:  Celeste Aida, mm. 8-15

 

Chapter 4 Score Analysis

 Hadyn, St Qt op 76 No. 3, IV  (CD 51)

 Liszt, Consolation (CD 96) only need first 1:05 of this track

Mozart, Clarinet Quintet K. 581, Trio II, mm. 1-12

 

Chapter 4 Aural Analysis  

1. Handel:  Water Music, Overture  3/4 Allegro  (CD 68)

2. Mozart Symphony No. 40, I,    2/2  (CD 69)

3. Mozart Piano Concerto No. 17, III, 2/2 Allegretto (CD 70)

4. Beethoven,  Symphony No. 5,  III, ¾  Allegro (CD71)

5. Schubert 8, I,  ¾   Allegro Moderato (CD 72)

6. Chopin Prelude No. 3 in G major 4/4  Vivace (CD 73)

7. Mahler, Symphony No. 4, I beginning (CD 74)

 

Chapter 5:  duration 9:30

 

Example 5.1 Transitional Phrases     CD1:75-76

a.       Haydn, Symphony No. 104, III, mm.   95-104

b.      Tchaikovsky, Symphony No. 4, IV, mm. 110-118  first 5-10 seconds could be omitted

 

Example 5.2 Introductory Function  CD 1- 77

a.       Verdi,  La Traviata,  No. 2, “Dell’ invito, “  mm. 1-4

b.      Schubert, Symphony No. 8, I mm. 1-8

c.        

Example 5.3 Closing Function  CD 1-79-80

a.       Bach, WTC Book II, Prelude in E,  mm. 51-54, closing phrase

b.      Handel, Messiah, No.4, “And the Glory, “ closing phrase

c.       Schubert, “Muth” from Der Winterreise,” closing phrase 

 

Example. 5.4 Parenthetical function   CD1-81-83

a.       Bach, Brandenburg Concerto No. 2, mm. 68-73

b.      Mozart, Symphony No. 40,  I, mm. 56-66

c.       Debussy,  “Nuage” from  Nocturnes, mm. 96-102

 

Example 5.5 Phrase link as transition:  Mozart, Symphony No. 41, II mm. 43-47  CD1-84

Example 5.6  Wagner, Overture to Die Mesitersinger, excerpt. CD 1-95

Example 5.7 Haydn, String Quartet Op. 76, No. 3, III mm. 12-20  (CD2-?)

 

Chapter 5 Aural Analysis

1  Bach Double Concerto, Movement 1, (CD1- 85)

2. Verdi,  Overture to La Traviata,  (CD 1-86)

3. Beethoven, Sonata Op.  53,  I  (CD 1-87)

4. Tchaikovsky, Overture to Nutcracker Suite (CD 1-88)

5. Handel,  Messiah, “Rejoice, Rejoice” (CD 1-89)

6. Beethoven Sym No. 3, IV, (CD 1-90)

7. Weill, Stranger  (CD 1-91)

8. Beethoven, Eroica , I, (CD 1-92)

9. Chopin, Ballade in G minor, (CD  1-93)

10. Schubert, Symphony No. 8, (CD 1-94)

 

Chapter 6: duration  16:00

 

Example 6.1.  Bach, WTC Book I, Prelude No. 11 in  F major  CD 2-1

 

Exercise:  Schubert, Wanderer’s Nachtleid  CD 2-1

 

(Example 6.2   Bach,  French Suite No. VI in E, Allemande  (Add if possible, recording not provided )  1:00

 

Example 6.6  Scarlatti, Sonata in G major, K. 427 (Longo 286), mm. 12-21  CD2-5 (entire)  :55 w/0 repeats

 

Exercises:  Simple, balanced and small binary forms:  Aural Analysis

            Bach, Badinerie from Orchestral Stuie No. II in D  CD2-6

            Beethoven, String Quartet Op. 131, IV, Theme  CD2-7

 

  Chapter 6 Aural Analysis

            Scarlatti, Sonata in E major, Long 530 CD 2-12

           

 Chapter 6 Score Analysis

            Grieg, Holberg Suite, Sarabande  CD2-10

 

Chapter 7: duration 9:00

 

Example 7.2  Chopin, Mazurka in G minor, Op 67, No. 2  simple, sectional ternary form.  CD2-15.

 

Example 7.6 Haydn Symphony No. 104, II, mm. 34-60

 

(Example 7.3 Weill, My Ship. mm. 9-17 Ex 7.3 b. 25-34  See Ch. 1 Aural Analysis)

 

Chapter 7, Aural Analysis:

 

            Chopin, Mazurka No. 45 in Am  CD2-19

            Faure, Violin Sonata No. 1,  III,  Allegro Vivo. CD2-21

 

Chapter 8: duration 17:00 minutes

 

Example 8.1  Mozart, Piano Sonata in F major, K. 332, I track of entire movement should be included.  CD 3-2 

 

Example 8.2 Haydn Piano Sonata No. 52 in Eb major, I, track of entire movement should be included.  CD 3-1

 

Example 8.3  Beethoven, Piano Sonata in E major I  track of entire movement should be included.  CD3-3

Chapter 9:  duration 5:40 + 1:00 + :30 +  :30

 

 Example 9.1 Beethoven, Symphony No. 1, I, mm. 1-12, introduction

 

Example 9.2  Berlioz, Symphony Fantastique,  mm. 59-71

 

Example 9. 3 Mozart, Piano Concerto No. 17 in G, K. 453.  Solo Exposition, mm. 75-101, PT¹ to beginning of Tr²   (include entire first movement; index this excerpt)

 

Example 9.8 Tchaikovsky, Symphony No. 4

a. I, mm. 16-20

b. IV, mm. 208-222.

 

 Exercise: Mozart, Piano Concerto No. 17 in G, K. 453.  (Include entire first movement)

Chapter 10:  duration 17:00

 

Example 10.1.  Festival Rondeau from Abdelazer by Purcell

Example 10.2   Couperin , La Bandoline,  Rondeau. 

 

Example 10.3 and Exercise

b. Haydn, String Quartet Op. 33, No. 2, Finale (include entire movement) CD4-13

 

Example 10.8  Mozart, Quintet for Piano and Winds, K. 452, III  Refrain and Episode 1  mm. 1-70  Include Allegro to the end  circa 8:00 mintues

Example 10.10 Mozart, Quintet for Piano and Winds,  K. 452 III,  close of cadenza and beginning of final refrain.

 

Chapter 11:   7:00

 

Exercise:  Holst, Suite for Band in Eb Chaconne CD5-9

Example  11. 8  Mozart,  Variations on Ah, vous, , dirai-je, Maman CD 4-8

            a.  Theme, mm. 1-8

b.  Variation I.  Figural variation

c.  Variation VII, Minore.  Contrapuntal and skeletal variation

 

Example 11.9  Beethoven,  Variations on God Save the King

            a. Theme

b.  Variation I

c.  Variation VI

 

Example 11.10  Beethoven, String Quartet Op. 131 in C # minor, IV  Variations 2 and 5. See also Example 3.12 and Exercises Chapter 6, where theme is presented.  CD4-2 entire movement.

 

 

Chapter 12: duration 6:00

 

Example 12.5  Bach, Two-Part Invention in F major

 

Example 12.6  Fugue Subjects by J.S. Bach

a.       Fugue 5 in D major WTC I , Brilliant style and French Overture

b.      Fugue 10 in E minor WTC I  toccata-like, continuous

c.       Fugue 7 in E major,  WTC II  vocal, ricercare style

d.      Fugue 11 in F major,  WTC II, gigue like, three-part subject

e.   Fugue 13 in G minor, WTC I,  “head and tail”  subject.

 

Example 12.7  Fugue 9 in E major,  WTC Book I

,

Example 12.9 Fugue in C Major WTC I  mm. 1-8

 

Example 12.11  Handel,  Messiah, Overture, Allegro, mm. 14-18. (include on track with mm. 1-13 Chapter 2 Aural Analysis no. 10

 

Example 12.15  Chorale melody “Wachet auf, ruft uns die Stimme.”

 

Exercise, Chorale Prelude Wachet Auf, introduction

 

Chapter 13: duration 2:00

 

Example 13.5 Schubert,  Wanderer’s Nachtleid (used in Chapter 6)

Example 13.6  Schumann, “Ích Grolle Nicht” from Dicterliebe

             a. mm. 5-12

             b. mm. 23-32 (vocal line and bass line only)

Example 13.7  Handel, “Let the Bright Seraphim, ”  mm. 1-8

Example 13. 8  Bach, Cantata 140 (1727), III  Ritornello, mm. 1-8

Example 13.9 Gluck, “Che farò senza Euridice”  ritornello melody.

 

Chapter 14:  duration 14:00

 

Example 14.1  Debussy, Engulfed Cathedral   mm. 1-15 (include entire prelude)

Example 14.2  Debussy, Engulfed Cathedral

1. mm. 41-46
2. mm. 55-71

 

Fig. 14.3  Webern, Piano Variations, Op. 27, II

 

Example 14.4  Bartok,   Mikrokosmo, Vol IV, No. 101 Diminished 5^th   entire movement

Example 14.5 Stravinsky, Rite of Spring, Motives, Introduction to part II   m.1, 9, 27, 38 (include first 2:00 minutes

Example 14.6 Five Movements for String Quartet, Op 5, No. 4 (1909)* entire movement

Example 14.11 Lutoslawski, Livre pour Orchestre, I, Intermede

Example 14.13  Penderecki, St Luke Passion, “Stabat Mater” excerpt

Example 14.14  Ligeti, Continuum, beginning

Example 14.16  John Adams, Tromba Lontana for Orchestra.  First page of score.