代做Music 1122 Summer Assignment Eight代写Java编程

Music 1122 Summer

Assignment Eight

Part I: Analysis

1.   Analyze each underlined chord with a ROMAN NUMERAL (remember, the roman

numeral must reflect the quality of the chord, ie. upper case for major chords, lower case for minor chords etc.) and the necessary FIGURED-BASS NOTATION. Remember that root position is understood in the absence of figured-bass notation.

2.   I have circled the embellishing tones (non-chord tones) for questions 1, 2, and 4. Please label these circled pitches with the appropriate abbreviation for the non-chord tone it is exemplifying. For question 3 you will have to locate, circle and label the non-chord tones.

Please use the following abbreviations:

P passing tone

App appoggiatura

N neighbour tone

IN incomplete neighbour tone

S suspension

3. Cadences have been isolated for you. Name each cadence on the appropriate blank

provided. Your options are: PAC (perfect authentic), IAC (imperfect authentic), Half, or Plagal.

4.   Please identify the key of each of the excerpts. Remember to always consider if it is a major or minor key.

1)

2)

Question: What is the significance of the E natural in measure 2, beat 2 of the soprano voice and the F natural in measure 4, beat 4 of the alto voices?  How can you explain these altered pitches in reference to the key of the piece?

3)  Please note, in this question non-chord tones are not circled for you. You will have to find them yourself and identify them appropriately.

Beethoven, Piano Sonata in c minor, op. 10/1,mm. 1-8.

4) Please do not analyze past measure 10. Use the first eighth note in the bass to identify the correct inversion (the first one has been done for you). Please note, sometimes chords are left incomplete, for example, they only contain the root and the third of the chord, omitting the chordal fifth. This happens quite often in music that is not written in chorale style. You will have to weigh out your options and choose which chords make the most sense in context, when these   situations arise.

Question: How does identity of the non-chord tone F# you labelled in measure 5 differ slightly from our definition of this type of non-chord tone? Why is this label still the best (in other words, what attributes does it still portray that align with this identification)?

Part II: Harmonization

Harmonize the following excerpt in chorale style (SATB). Watch out for tendency tones and smooth voice leading. Label the appropriate cadence found at the end of the progression. The soprano and roman-numerals with figured-bass notation has been provided for you.