|Analysis 1. Beethoven: Sonata, op.2, no.3
|Analysis 2. Haydn: Trio, Hob. XV:3
|Analysis 3. Beethoven: Sonata, op.7
|Analysis 4. Mozart: Sonata, K.281
|Analysis 5. Mozart: Sonata, K.310
|Analysis 6. Beethoven: Minuet
|Analysis 7. Haydn: Sonatina, Hob. XVI:1
|Analysis 8. Mozart: Waltz. K.567
|Analysis 9. Beethoven: Sonata, op.14, no.2
|Analysis 10. Mozart: Sonata, K.283
|Analysis 11. Mozart: Sonata, K.330
|Analysis 12. Haydn: Sonata, Hob. XVI:34
- Select a phrase from a composition of your repertoire which you have performed, are currently working
on, or are likely to work on in the future. The piece must come from the Common Practice Period; music
written between 1750-1825 provides the most straightforward examples (compositions by Haydn, Mozart, or
Beethoven would be very good choices).
Some instruments (such as saxophone and percussion) will require a transcription rather than an original piece from this time period.
In these cases, the original version of the piece, from which the transcription was made, must be the music analyzed.
Much of this music is available for free at the Petrucci Music Library.
- Submit a photocopy of the phrase for approval, with cadence clearly identified (soprano motion, bass support, and harmonic action).
The photocopy will also be submitted with the final graph. Do not begin working on it until you have approval.
- Provide a complete Schenkerian analysis of the phrase, following these guidelines:
- To prepare this writing assignment properly, use the notation guidelines appendix, located at
Basic Principles of Music Notation, Semester III.
- Using a computer notation program, copy the phrase into one music file EXACTLY as it appears in your edition (except
transposed instruments, which must be presented at concert pitch). Solo works with piano accompaniment and chamber music
will have to use more than two staves (see examples below). Vocal pieces will need to have the lyrics copied as well.
- Using a computer notation program, place two blank staves for the graph, with the rests and meter signature removed and a bracket added,
directly under the original phrase (as all the analysis projects have
done). Multiple staves will need to be reduced to fit these two staves (see the two examples below).
- Copy your graph onto the blank staves, using either computer notation or by
hand, in ink, using a ruler to draw prolongation beams. The top line will be in treble clef and the bottom line will be
in bass clef, regardless of register in the original music.
- Compact the score into one page, preferably one system if possible. You may use either portrait view
(upright) or landscape view (sideways), whichever presents the graph better. Use the analysis projects (links at the top of this
page) as guides for the appearance.
- Place the title of the piece and the composer's full name in a header (12 pt. font) at the top center of the page,
indicating the measure numbers being graphed. Give the source for vocal music (such as the name of an opera or song cycle)
or the movement for instrumental music. If you do not know all this information, find out; the internet is a
wonderful resource. The header should look exactly like the examples below.
- Give yourself credit for your work by adding "graphed by [your name]" on the right side.
- Submit the finished graph and the approved photocopy of the original with your name on every sheet; do NOT staple.
Examples of headers:
|Marriage of Figaro|
"Voi che sapete", meas. 9-20
|graphed by Kerry Beano
|Serenade No. 13 in G Major, K. 525|
Minuet, meas 1-8
|graphed by Ina Klein
- The grading for this project:
- 50% for accuracy of harmonic analysis
- 10% for accuracy of soprano structure
- 10% for accuracy of bass support
- 10% for accuracy of harmonic support
- 10% for accuracy of middleground
- 10% for clarity of notation and presentation
Copyright © 2008-2009 by Phillip Magnuson.
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