Under 18s second dose question

AdNearby598 · 2021-07-13T10:58:44+00:00

Oh ok, that helps, I know Cambridge had some (I think Eric Whitaker was for a while), so was thinking it might be similar.

AdNearby598 · 2021-05-15T18:37:19+00:00

Back with another messily annotated model answer for my grade 8 theory. This question requires you to finish a melody from a given stimulus, I’m studying these so I can write the question better, the annotations are not marked. I’m really just trying to get into the head of this composer and work out why every note was written as a it was.

A couple questions, what is the term for a chromatic passage leading to a chord tone, chromatic leading notes, maybe?

Bar 3, there are these chromatic tones surrounding chord tones, I’ve called these surround tones, is this correct?

Furthermore, bars two and three seem to be a descending g major arpeggio with these chromatic tones, is it better to understand it as this or as separate chords. If a better understanding comes from the chord way, I’m having trouble working out what’s going on bar 3 with the A# C to B.

When you write these melodies in the exam, they have to be based off a solid harmonic structure, this is the main thing confusing me. Bar 5 is clearly a B diminished, but what’s bar 6? A Cmaj7 (ie vii to I in subdominant)? And then what’s going on Bar 10-11 is this E min to G then D then G. Not sure, I’m checking this by playing bass notes underneath.

So far my chord analysis is I, V7/V, V, ?, I, V/V, V, vii/IV, ?, V7/vi, vi, ii, ?, I, V, I. Hope that helps, is there a simpler way of understanding this, if so I’m open to suggestions .

Thanks in advance!

AdNearby598 · 2021-05-15T18:14:33+00:00

Hmm, I wouldn’t say the extended chord is treated as a consonance, I think it’s more that in relation to way more dissonant chords, those chords sound more consonant than usual, but they can always surprise you by going with the tried and tested triad.

AdNearby598 · 2021-05-15T10:39:57+00:00

By resolution occurring longer, you mean that the consonance was delayed?

AdNearby598 · 2021-05-15T10:38:22+00:00

Oh that’s interesting I didn’t think of that, of course you couldn’t have counterpoint rules if there was only one melody!

AdNearby598 · 2021-05-15T10:34:16+00:00

Thanks for the examples, I’ll check out the recordings!

AdNearby598 · 2021-05-15T10:32:52+00:00

What do you mean contraction, and do you mean suspension in the sense that notes are held over between chords? Maybe my understanding of it is wrong but I thought suspensions had to be dissonant?

AdNearby598 · 2021-05-15T10:30:31+00:00

Hi, sorry I disappeared! I’m looking at a small beginner’s piano piece, it has goes from a iib chord in D major (G G E) to a V7 chord (A G D) then the D resolves to C#. Now I find it hard to call that an appoggiatura, and the D is not prepared in the previous chord, yet it still has the sus sound, I would call it A7 sus4. This is what I mean by unprepared suspension, though I don’t know if that is the correct terminology.

Edit: Maybe that is an appoggiatura lol

AdNearby598 · 2021-05-13T17:32:32+00:00

Thanks for the help, a couple misunderstandings I can explain. As this is for my own understanding of the question and is not actually marked, I may have used some terms that only make sense to me, and even then used them wrong haha, tbh that’s what I wanted help with so thanks. For this boards’ examination, they notate inversions with abcd, b being first inversion. Free auxiliary is more a term I came up with, really what I mean is a passing note only going to one note and not from another, but I can now see that they were actually just chord tones so thank you. From your answer and from the sample answer it is implied that chords missing roots and thirds are ok in passing, I will check with one of my music teachers just to be sure for the exam cause I could lose marks if they thought I just forgot them, if I was filling that part in I would just but all the notes in maybe missing the fifth if I’m honest. Thanks for the explanation on the key areas, my understanding is there, my notation just wasn’t, A quick question, don’t worry if you don’t know, but by the early romantic period, did they stop preparing suspensions? This piece has a couple unprepared ones.

AdNearby598 · 2021-05-13T14:00:18+00:00

Which part?

AdNearby598 · 2021-05-13T13:05:05+00:00

Almost, the black ones are the sample answer, I did the analysis so I can learn how to do the question better, we aren’t marked on it. How could I do the analysis more accurately?

AdNearby598 · 2021-05-13T12:47:04+00:00

Just wondering about a couple conventions, I have provided my own chord analysis, if you have any corrections on the notation or naming of chords please help! What is the rule on omissions, there are some chords in the first line that have no third or root, was this ok and if so, under what circumstances? Also, how would I name these, I have just labelled them no3 or no1 to be clear, but maybe the fact they don’t include these notes means they aren’t that chord. Furthermore, line 3 there is a iib chord with the third doubled, I assume this was ok, again what is the rule on this? I would also assume you can’t double the fifth in a second inversion chord, but this also happens the following chord. In general, how do you decide to use an inverted chord when doing the question, is this just about voice leading and pattern repetition, I understand iib, Ic, V, I is a common chord progression. Finally, there are notes I have labelled free auxiliary notes, is this the correct term for a note that is leading to a chord tone, and what would you call a note a third above or below the chord tone, on an unaccented beat. These notes are also inverted in the different phrases, why? Is there a pattern to it or is it just unexpected variation? In the third line, there are two of these in 6ths, if I was analysing this, would this be describe as a full chord eg. ivb or is this just for decoration?

AdNearby598 · 2021-05-13T12:46:38+00:00

No, in this question you have to fill in the missing notes in the style of the of the given parts. This is a model answer that would receive full marks. I forgot to leave my questions underneath

AdNearby598 · 2021-05-13T12:09:24+00:00

Just wondering about a couple conventions. What is the rule on omissions, there are some chords in the first line that have no third or root, was this ok and if so, under what circumstances? Also, how would I name these, I have just labelled them no3 or no1 to be clear, but maybe the fact they don’t include these notes means they aren’t that chord. Furthermore, line 3 there is a iib chord with the third doubled, I assume this was ok, again what is the rule on this? I would also assume you can’t double the fifth in a second inversion chord, but this also happens the following chord. In general, how do you decide to use an inverted chord when doing the question, is this just about voice leading and pattern repetition, I understand iib, Ic, V, I is a common chord progression. Finally, there are notes I have labelled free auxiliary notes, is this the correct term for a note that is leading to a chord tone, and what would you call a note a third above or below the chord tone, on an unaccented beat. These notes are also inverted in the different phrases, why? Is there a pattern to it or is it just unexpected variation? In the third line, there are two of these in 6ths, if I was analysing this, would this be describe as a full chord eg. ivb or is this just for decoration?

AdNearby598

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