FINAL PROJECT FALL 2012
Listen and review the pieces included in the final project tab.
Select your favorite three scores you wish to study for the final project.
Use numbers 1-3 to rate your choices - (1) denotes your top pick.
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Theory Project #1 Spring
1. The problem with the "cadence" at the second fermata is that it ends on a iii.
There are no cadence types where a iii is even involved because phrases just
don't end on iii's. I labeled that cadence as a half cadence, thinking
Project #1: Trouble at the O.K. Chorale Bach Chorale Analysis
Due in class Monday, April 8th
Complete a Roman numeral analysis of chorale #107 from your packet. This is
the final chorale from Bach's St. John Passion. You should work on the analysis
MUSIC 111-2 Section 21
Winter Quarter 2013: Final project guidelines
Part I: Score preparation
Your final project will include a tonal profile and Roman numeral analysis of your selected
Part II: Met
Theory II Winter quarter
Your final project will include a tonal profile and Roman numeral analysis with
cadence identification. Pick a piece of appropriate scope for that level of detailed
Select a score - Select a piece of
Project #2 Rules of the Octave
The major and minor scales share the same exact figures on the 1st, 3rd, 6th, 7th, 8th
scale degrees ascending, and 8th, 7th, 3rd, 1st scale degrees descending. The first
kind of difference between the major and minor sca
Final Project Description
Due: ON OR BEFORE Tuesday, December 11th at 12:00pm (exam week)
The daily assignments and activities in the Theory I curriculum are designed to
introduce you to the nature of musical structure and
Morales, even though he based his movement off of Lhomme arm, does not maintain
the exact original melody. In fact, pieces of the original melody are incorporated into the
movement often with rhythmic and/or intervallic variations. For example, t
Music Theory 111 Section 21
Final Theory Project Reflection Essay
When comparing Claudio Monteverdis Non giacinti o narcisi with J. S. Bachs
Invention No. 1, the analyses showed that both pieces are fairly straight-forward in tonal
Gradus ad Parnassum Step to Parnassus
Georg Philipp Telemann, Joseph Haydn, Pierre Denis
Dora: Hola Maria! We have a mission today! A dissonance ran away while Diego was writing a
second species counterpoint! We need to find it!
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