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Music Theory for the 21st-Century Classroom

Robert Hutchinson

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Exercises 13.9 Practice Exercises

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For each excerpt below, do the following:
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    Label chords with Roman numerals at the ends of phrases to determine cadences
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    Label cadences by type (PAC, IAC, HC, PC, DC)
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    Examine the motivic structure to determine if a phrase is a sentence
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    Create a diagram of the form using cadence abbreviations (HC, DC, PC, IAC, and PAC) and letters to designate melody (a, a’, b, etc.). Use the “prime” symbol (’) to show if a melody ends with a different cadence. In this chapter, the prime symbol should not be used to represent embellishment of the melody or changes in the harmonization or register.
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    Name the form of the excerpt (sentence, parallel period, contrasting period, asymmetrical period, parallel double period, repeated phrase, repeated period).
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1. Mozart, “Ein Mädchen oder Weibchen,”The Magic Flute.

Figure 13.9.1.
Answer.
Mozart, The Magic Flute, “Ein Mädchen oder Weibchen”:
  • Chords: I–V, V–I
  • Cadences: HC, PAC
  • No Sentences
  • Melodic labels: a, b
  • Form: contrasting period
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2. Mozart, Piano Sonata K. 333, I.

Figure 13.9.2.
Answer.
Mozart, Piano Sonata K. 333, I:
  • Chords: vii∘–I, vi–V, vii∘–I, V–I
  • Cadences: IAC, HC, IAC, PAC
  • The 2nd phrase is a sentence
  • Melodic labels: a, b, a, b’
  • Form: parallel double period
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3. Edmond Dédé, Chicago, Grande Valse à l’Américaine.

Figure 13.9.3.
Answer.
Dédé, Chicago:
  • Chords: V, V, V, V–I
  • Cadences: HC, HC, HC, PAC
  • All four phrases are sentences
  • Melodic labels: a, a, a, a’
  • Form: parallel double period
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PDF versions of the textbook, homework exercises, and practice exercises can be found at musictheory.pugetsound.edu 4 
musictheory.pugetsound.edu/hw/MT21C_HW_14.pdf
musictheory.pugetsound.edu/hw/MT21C_HW_15.pdf
musictheory.pugetsound.edu/hw/MT21C_Unit_3_Practice_Test.pdf
musictheory.pugetsound.edu
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