“This material bas been reproduced and communicated to Jou'by or on behalf ot the University af Spaney porsuans Winn Gin aetne Clopytigne ce TDee Ghee Sees n ne Se Sydney Conservatorium of Music Harmony & Analysis 1 Examination NAME: Sample Paper Time Allowed: 2 hours INSTRUCTIONS: Answer all four questions, but note that a choice is given for question 4. Write your answers on this paper, using vocabulary and techniques studied this semester. Question 1: Preliminaries. (15%) {a) The following passage contains five errors of voice leading or chord construction. The first of these has been identified for you. Identify the remaining FOUR by writing an X on the score, then giving a detailed description in the boxes below. Voice(s)*: Error: 1_ | Sop./Bass Parallel Sths (not required for chord construction errors) (b) Provide alto and tenor parts.Question 2: Harmonise the following melody in four parts. In general, your setting (35%) should have a note-against-note texture. You may wish to include a small number of passing notes. © 2005, Sydney Conservatorium of Music, University of Sydney 13“3 Question 3: Realise the following figured bass in four voices. You may wish to use (25%) a small number of passing notes to embellish the upper voices. wae Question 4: Answer ONE of the following questions. (25%) (a) Compose a counterpoint in first species (note against note) below this cantus firmus. Question 4 continues on p. © 2005, Sydney Conservatorium of Music, University of Syeiney© 2005, Sydney Conservatorium of Music, University of Sydney OR (b) Given below are the opening bars of Haydn's Symphony No. 30 ("Allelujah”). Make a voice-leading reduction of the Oboe 1 and bass lines, and provide a Roman numeral analysis under your reduction. Oboe 1 Oboe 2 & Hors Strings TN jie 1Sydney Conservatorium of Music Harmony & Analysis 1 Examination NAME:__* Sample Answer - Sample Paper Time Allowed: 2 hours INSTRUCTIONS: Answer all four questions, but note that a choice is given for question 4. Write your answers on this paper, using vocabulary and techniques studied this semester. Question 1: Preliminaries. (15%) (a) The following passage contains five errors of voice leading or chord construction. The first of these has been identified for you. Identify the remaining FOUR by writing an X on the score, then giving a detailed description in the boxes below. Bar(s); , Voice(s)*: Error: 1 | Sop./Bass Parallel 5ths 1 Incomplete chord (1,1,3,3) 1-2 | Sop/Aalto Overlap Alto Melodic augmented 2nd Tenor/Bass _ Parallel 8ves ‘Chot required for chord construction errors) (b) Provide alto and tenor parts. Ibs © 2005, Sydney Conservatorium of Music, University of Sydney 2Question 2: Harmonise the following melody in four parts. In general, your setting (35%) should have a note-against-note texture. You may wish to include a small number of passing notes. © 2005, Sydney Conservatorium of Music, University of Sydney 13“3 Question 3: Realise the following figured bass in four voices. You may wish to use (25%) a small number of passing notes to embellish the upper voices. dd wae Question 4: Answer ONE of the following questions. (25%) (a) Compose a counterpoint in first species (note against note) below this cantus firmus. Question 4 continues on p. © 2005, Sydney Conservatorium of Music, University of SyeineyOboe 1 Oboe 2 & Hors Strings ic, University of Sydney of the Oboe 1 and bass lines, and provide a Roman numeral analysis under your reduction. [ Note: Other interpretations may be valid. Due credit will be given for any properly notated and insightful response. ] Homns (1st ‘ume ony): peo oatr tes Vv T PT yt d = Me : Has 1 wd = Mlle : = Hae — His 8 (oe I ee