Symphonic Hearing: -Which note is -Do I hear a seventh (or second)?

-Do or Ti? -Quality? -Quality?

in the bass?
Listening As Active Participation or, -Function? -Notes? Do=I
=I
V6/4-5/3 I
-Is Do consonant -What notes do Do, Mi, Sol?
Mi=I6 Cad.
or dissonant? I hear? Major? Sol=V6/4 or I6/4 V6/4

The
Daniel B. Stevens (stevens@udel.edu) Mino
University of Delaware
r? =vi
La, Do? La=vi Passing IV I6/4 IV6

Do-Ti
Do=vi6 I6/4

Music Theory Midwest

c?
University of Oklahoma, Norman
April 26–27, 2013 Test To
ni Not sure?
Try the
“Do-Mi-Sol”
=IV
Fa, La, Do? Fa=IV
La=IV6
I IV6/4 I
Neigh.
[major key version] test. le? Do=IV6/4 IV6/4
t ab
jor-S
Dom. Prep.? Ma
Do? Minor? =ii Re (confirm)?
Re=ii, ii7 Can I distinguish
Example 1 Ma any idiomatic
The Do-Ti Test Handout jor-
Un progressions?
stab
le? (See progressions by stars.)
This handout is designed for freshmen Aural =ii
Ti? (in Fa (confirm), La, or Do? Fa=ii6, ii6/5
Skills courses. Employing the Do-Ti Test, v.) La=4/3
students learn from the beginning of their studies Do=4/2
how to actively participate in the listening process. Maj
This listening technique allows students to or?
quickly and accurately grasp the function of a
=V Sol=V, V7
harmony while avoiding errors caused by (Pass this step.) Sol, Ti, Re, Fa? Ti=6/3, 6/5
Di Passing
outer-voice pitch misidentification. m. Re=6/4, 4/3 V6/4
?
=v Fa=4/2 I V6/4 I6

M ii o
Example 2 (on the reverse) ino Ti=viio, vii o 7 I V4/3 I6 Passing
Phrase Model Handout r? (Pass this step.) Re (confirm), Ti, Fa, Le? Re=6/3, 6/5 V4/3
DISCLAIMER: Fa=6/4, 4/3
During the freshmen year, students memorize Though this mode of =ii Le=4/2 Passing
thought is presented o
all tonic-expanding idioms. Understood as the
i vii 6 I viio6 I6
in a linear fashion,
smallest meaningful harmonic unit, these idioms you will later find
are grouped according to their bass patterns (Pass this step.) Mi (confirm), Sol? Mi=iii
that the different
as well as by their Do-Ti “thumbprints” stages presented here Sol=iii6
occur (as they should!) Daniel B. Stevens
and contrapuntal structures. (stevens@udel.edu)
all at once.
University of Delaware
Daniel B. Stevens
(stevens@udel.edu)
University of Delaware so you want to write a chord progression? cadence
(aka the Phrase Model Handout)
Tonic Expansions V I
Stop on Stop on I
Pedal bass 3 Neighbor bass
Non-tonic Dom. Prep. V for HC. for PAC or IAC.
1 Do-Mi bass (or vi/I 6/? for EC)
& ˙˙˙ w
2 ˙˙
˙˙ V.E. ˙ œ œ ˙
Type [2a] [2b]
œœ #œœ ˙˙ œ œ ˙
Type [3a] [3b]
œœ œœ ˙˙ œœ œ ˙˙ Expansions ˙ w
w
& ˙ ˙˙ & œœ œœ ˙˙ œ# œ ˙ & œœ œ ˙˙ œ œ ˙ œ œœ ˙ œ œ
& œœ œœ ˙˙˙ ˙
IV V I
I I6 I
6
IV4 I
4
I
6
V I I
6
V4 I or: 6
I viio I ? ˙ w
? œ
o

? œ œ ˙
I ct
? ˙
2 I
˙ œ œ ˙ œ ˙ œ œ ˙ œ œ ˙

Fa - Sol - Do bass line

6 6
[1a-ii]
? œ œ ˙
ii I ii
˙ ˙˙˙ ˙˙
œ œœ ˙˙ œœ œœ ˙˙
[3c] & ˙˙ œœ w
w
w
5 And a sampling of...
& œœ œ ˙ œ œ ˙
œœ œœ ˙˙
œ6 œ 4 ˙ 6 6
& œœœ œœœ ˙˙
V8 - 7 I
Contrapuntal Expansions ? ˙ ˙
ii(5) or: V(5)/V
#˙ w
œ œ˙
6 4
Type [1a] Type [1c] I V3 I I V2 I 6
œ & œœbœœ ˙˙ ? œ œ œ œ ˙
I V5 I

& œœ œœœ ˙˙ œ œ ˙
& œœ œ ˙˙
& œ̇˙ œ ˙ œ œ ˙ [1a-IV] 6
? IV I4 IV
6

& ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
œ œ ˙ ˙ ˙7 ˙ ˙ w
w
8 - 7 - 8
I5 - 6
œ œœ ˙˙
I5
? ˙ ? œ œ˙
- 6 - 5

& œœ bœ œœ bœœ ˙˙ œœ bœœ ˙˙

6 6

? œ œ ˙
I V4 I 3 - 4 - 3

? œ
I IV6 I 6 ˙ œ œ ˙ œ6 œ 4 ˙ & œœœ œœœ ˙˙
7 6 - 5
w
IV or: IV viio/V I
? ˙ ˙ #˙
V4 - 3
œ ˙ œ œœ œœ œ œ œ œ œ
o6 o
w
& œœ œ œ œœ œœ œœ œœ œœ
I vii o7 I vii 5 I I vii 3 I 6
? œ œ œ ˙
I

& œœœ œœœ ˙˙˙ œ œ ˙ œ ˙ œ œ ˙ ˙˙

& ˙˙˙ ˙
[1a-V] 6 6

& œœ œœ ˙˙ 4
2
6
5
8 - 8 - 7 - 8
5 - 6 - 5 - 5
? V IV V
œ œ ˙ #˙˙ ˙ w
w
w
? œI iiœ V œI œœ #œœœ ˙˙
& œœœ œœœ ˙˙˙
4 6 3 - 4 - 4 - 3
I
I
? œ œ ˙
V3 I
œ œ œ œœ ˙
œ ˙ & œœœ œœœ ˙˙
ii or: V/V
? œ
I vi I 6
? ˙
[3c, cont.] V I
œ ˙ Inversions ˙ ˙ w

Re - Sol - Do bass line

I 6 IV I 6 I 6 cto7 I 6
œ œ*) ˙ ? œ œ ˙ œ #œ ˙
NOTES: of Pedal bass: [1a-V] 6
V ii4 V6
& œœ œœ ˙˙ ?
& ˙˙˙ #˙˙˙ ˙˙˙ w
1) These tonic expansions may be chained together, embedded

Type [1b]˙
into one another, segmented to produce a linear bass/melody,
œ œ ˙ w
w
œ
& œœ œœœ ˙˙
4 6 and expanded by parenthetical insertions.
I
? œ œ ˙
V3 I 2) When choosing harmonic progressions not covered by these
& œœœ œœ ˙˙ ? ˙
ii7 or: V7/V
˙
V7 I
expansions, try to use one of the following strong progressions:
down a 5th, down a 4th, down a 3rd, up a 2nd (and use your ear!).
œ ˙ ˙ w
V42 I 6 Type [4a]
? œ œ œ œ ˙
I
˙ ˙ ˙
Tonic Bass Arpeggio [2a-V] 6
? V ˙˙ ˙˙
& œœ œœ ˙˙ & ˙˙ ˙˙ & ˙˙
*) This is one instance where a chordal 7th resolves up.
w w
I4 V
œ œ w ˙ ˙ w
& œœ œœ ˙˙ œ ˙˙ ˙ w œ œ ˙ w
& œœ bœœœ
KEY:

˙ V.E.=Voice Exchange 6 - 5
? œ œ ˙ w
7 I I6 V
& œœœ##œœœ ˙˙˙ w
ii
4 Fifth-related ? ˙
I V I V 4 - 3 I
˙ ? ˙
6 6 = progression
? œ œ ˙ w
I viio I
4 works only as ordered.
bass
? œ œ
I viio 3 I6
˙ (All others work in
œ œ ˙

)
& œœ œœ ˙˙ ˙
[2b-V]
? ˙˙˙ ˙˙ w
o4

& ˙˙ w
reverse as well.) V ct 2 V Two EC options:
˙˙ w
Subdominant Bass Arpeggio
ww
Type [4b]
œ œœ œ œ ˙ ˙ ˙ ˙˙ ) ˙

or: Fa - Sol - Mi
˙˙˙ œ œ ˙ w

Fa - Sol - La
& œœœ bœœœ ˙˙˙ & œœ
P/IAC=Perfect or
œ ˙ Imperfect Authentic
& œœ œœ ˙˙ & ˙˙ ˙˙ ˙
? œ œ ˙
I V I
w
Cadence. 6
? ˙ ˙
NB: Non-tonic chords may also be V
˙
IV or: ii(5) vi or: I6
w
6 6
I viio 5 I HC=Half Cadence
? œ œ ˙
expanded using secondary/applied V’s
? œ œ ˙
I6 I vi IV V
? ˙
I IV I IV I
EC=Evaded Cadence
? œ ˙ by following the tonic-expanding
œ ˙ ˙ ˙ voice-leading models given to the left.
 Example 3 Example 4
Applied Chords + Resolution Guide-Tone [GT] Patterns GT Figurations for Common Major-key Diatonic and Chromatic Chords
Students who have gained the competency of distinguishing secondary from diatonic chords may In 2-vc. counterpoint,
a. b. c. d. e. f. to avoid a doubled LT:
œ˙ ˙ œ
opt. opt. opt.
˙ œ œœœ ˙ ˙ œ œ œ œ œ (#) œ œ̇ ˙
benefit from learning the following GT patterns that characterize secondary applied chords and their
normal resolutions. Singing the GT also helps students hear through applied chords to their resolution. & œ œ œœ œ
( ˙)
( )
(7) 7 (6 - 5)
a. Applied Dominants in Major Keys: IV 4-3
I IV ii I or: V/ii V V or viio
Di Re Ti Ti Do Do Do Ti Ti Do
#˙ b ˙ ˙ ˙ œ œ ˙ bœ œ
g. opt. h. i. j. k. l.
& ˙ bœ œ œ œ n œ œ ˙œ œ œ ˙ ˙ œ
(Do) (Te La) Fi=Ti

& b˙˙ & #˙˙˙ ˙˙ & #˙˙˙ ˙˙˙ œ

œ# œ #œ
& ˙ ˙˙ & # ˙˙ ˙˙ ˙˙
˙
#
# ˙˙ ˙ ˙ ˙ ˙ ˙ 7 mod to
bII +6 +6 +6

? ˙ ˙
V IV V*/V V: V V*/vi V*/ii It Fr Gr
? ? ˙ ? ˙ ˙ ? ˙ ˙ or: III #
˙ ˙ ˙ *or: vii o
m. Example GT analysis of Chopin’s Nocturne in E b Major, Op. 9, no. 2, mm. 1–4
b ˙ nœ œ b˙ ˙ ˙ ˙œ ˙
7 7 7 7 7
V ii V iii V IV V V V vi
& b bb
œ œ œnœ œ œ nœ
( )
˙
b. Applied Dominants in Minor Keys:
E: I viio I V ii V V vi o
vii V4 - 3 I
[type 5 cont. exp.]
Te Te Do Do Do Ti Ra Do Do Te
(Te Le)
& ˙ ˙ & ˙ ˙˙ & # ˙˙ #˙˙ & b˙˙ ˙˙ & #˙˙˙ ˙˙˙
˙˙ ˙˙ # ˙˙ ˙ ˙ ˙ ˙ ˙
? ? ? ˙ ? ˙ ˙ ? ˙ ˙
˙ ˙ ˙ ˙ ˙ (P)
7 7 7 7 7
V III V iv V V V VI V VII Example 5
Diatonic Modulations to Closely-Related Keys
c. Applied Leading-Tone Chords in Major Keys. With o7, provisional analysis is encouraged, Modulation from C Major Modulation from A Minor
with privilege given to the viio7/V (GT=Do) and the diatonic viio7 (GT=Ti).
F C G d a e
˙˙˙ ˙˙
Di Re Do Ti Ra Do Do Ti Ti Do
b˙
& b˙˙˙ ˙˙˙ & #˙˙˙ ˙˙˙ & bb˙˙˙ ˙˙˙ & ˙˙ ˙˙˙
d a e F G
˙
C
&
{
{
Do + Major = F Major (IV) Hearing an original Do + Minor = D Minor (iv)
?
7
#˙ ˙ ?
7 #˙ ˙ ?7 ˙ ˙ 7? #˙ ˙ ? #˙ ˙
7
Do + Minor = A Minor (vi)
Ti + Major = G Major (V)
GT and new mode Do + Major = F Major (VI)
Te + Minor = E Minor (v)
enables students to
7 7 7 7 7 Ti + Minor = E Minor (iii) quickly identify Te + Major = C Major (III) if Te=Sol
o
viio ii viio iii viio IV viio V vii vi Re = D Minor (ii) the modulation. Te + Major = G Major (VII) if Te=Do
 Example 6
Tiered Exercises for Small-Group Phrase-Length Improvisation and Analysis
In these examples, group members begin on a tonic triad (bass, guide tone, and optional upper voice). The bass voice (1) is the “leader”
and changes first, the guide tone (2) changes second, and the optional third voice (3) moves to a plausible upper-voice chord tone.
The optional third voice can be sung by a third person or played on the piano by the person singing the bass or GT.
The bass voice generally controls the direction of the phrase, although the GT voice can sometimes create dissonances that require (“bind”)
the pair to resolve in a particular manner. All voices must keep harmony and counterpoint in balance throughout each exercise.
These exercises are directed toward being able to perform “bass + GT profiles” of phrases drawn from the repertoire.

a. Realizing the Notated Rhythms for Improvisations with Two and Three Voices
Two-voice Notation: Realized: Three-voice Notation: Realized:
w w w w ˙˙ ˙˙
& w w w & w ˙˙ w (3)
(2) (2) Upper & (3) &
GT
Voice
? w w *w
+4
? w
+4
w
*
(1) (1) w (2) & w w w (2) & w œ ˙. œ ˙.
LEADER
*resolution
= bound

(1) ? w w w (1) ? w w w

b. Tier #1 - Consonant Intervals. All intervals above the bass must be consonant. When the bass sings the leading tone, the GT may
use the figuration at Ex. 4f to avoid parallel octaves. The GT voice may choose to indicate the supertonic and embellish the
dominant to signal a cadence.
w w w w w w w
(3) & w
3 6 3 5 3 8 5 8

(2) & w œœw w w w œw wœ œ w

w8 3
w w8 3
w
6 5 3
w
8

(1)
? w w w

c. Tier #2 - Phrase-Model Idioms. The focus of this tier is learning the tonic and non-tonic expansions on the Phrase Model Handout.
Consequently, some dissonances, including Fa-Ti and Sol-Do may be included. Students may wish to perform this exercise while
pointing at the idioms on the Handout.
w w w w w w w w
(3) & w

(2) & w w w w w w w w w
6 5
Type 1b (Do-Fa-Mi) Type 1a (Mi-Re-Do)
w w
V4
? w w w w
3
(1) w w w

d. Tier #3 - Consonant and Dissonant Intervals. Students are encouraged to include contrapuntal dissonances and resolve them
together to the expected interval of resolution. Embellishments may be added in one voice and imitated in the other.

(2) & w w w w w w w w w
*3 *6 *3
? w
8 7
w
+4
w w w
3 4
w w
8
(1) w w
Bass leads: GT leads: Cadential gesture:
(2)

(1)

e. Tier #4 - Chromatic Chords (Non-modulating). Both bass and GT play a role in determining what chromatic chords are implied.
The GT voice addes figurations found in Example 4.
b bw
(2) &b b w nw w bœ œw wœ
#œ
œ nw w

? bb w w nw w w #w w
(1) b w
c: I
6
V4 iv
6
V5 bII 6
V I viio7
f. Tier #5 - Diatonic and Chromatic Modulation. Students can choose a modulation in advance or draw modulation “play cards”
before or after they begin. To modulate, both voices repeat the pivot chord using new syllables and the upper voice moves to the new GT.

(2) & w w bœ œ w w œ #œ œ w w
Ti Do
w #w w

? w w w #w w w
Sol Le
#w #w
(1) w
C: I V 65 IV V 65 V V7 6 5
B: Gr+6 V4 3 I
 b
Example 7 Haydn String Quartet in E Major, Op. 76 no. 6, II. Fantasia (Adagio),
mm. 31–39 (m. 36 respelled for clarity): Tonic Expansions and Chromatic Modulation
The GT analysis given below could be performed individually while listening, as a small-group singing
activity, or as a dictation exercise on paper.

31 32 33 34 35 36 37 38 39
GUIDE TONE 3
& 4 bœ œ œ ˙ bœ b˙. bœ ˙ bœ œ œ b˙ . ˙ #œ ˙ #œ œ Œ Œ
(sing or notate):
Do Ti Do Ti Do Do Ti Do Ti Do Ra = Do Ti Do Ti Do
3
3 bœ
& 4 bœ̇. œ œ œ̇. œ œ œ̇. œ bœ bœœ œœ œ‰ œŒ œ bœ̇. œ œ bœb˙ #œœ.. #œ n˙ #œ #œœ œ#œ œ #œ œ Œ Œ
bbœ̇.. # # œ nœ #œ œ #œ Œ Œ
J
Audio excerpt
œ bœ œ bœ bœ œ #œ#œ œ
? 43 b œ œ œ ˙˙ bœ bœ̇. nœ ˙ nœ nœœ bœ œŒ œ œ bœ
Œ b ˙. nœ̇. # œ œ̇
n #œ#œ # .
played to student:
b˙. ŒŒ
J bœ œŒ Œ

BASS LINE: ? 43 bœ œ œ bœ
b˙ nœ œ Œ Œ bœ œ bœ b˙ #˙. œŒ Œ
˙
(sing or notate) 6 5
4-3 (Cad?)
Type 3a and 3b P D Type 1a P ?? 4 3

STUDENT NOTATIONS tonic exp. HC/B

b tonic exp.
=F# (V) PAC/B
(expansions and cadences): Ra becomes Do=
(Do-Re-Me)
(neighbor bass)
C
b B

Example 8 Schubert Symphony No. 8 in B Minor “Unfinished,” II. Andante con moto, mm. 61–83:
Tiered Keyboard Harmony GT Exercises
By first performing a GT thread through the passage, students learn to relate its harmonies through linear
connections, which become the reference point for the notes added at later stages.
####
&
Tier #1: GT only
w #w
# #
##w
Tier #2: GT + I and V (whole)
& w ww
w #w
w
Tier #3: all harmonies (solid)

#### Do Ti Te Sol Ti Re
& nw bœ n œ w w nw
#1
w w # œ w
# ##
&# w #œ
œœ nww w n œœ n w nb w
w w nw
w œœ w w nœbœ n w
nw w nw œ nnw
w w
w
#2/#3
w œ w w # w

#### Ti Do
#1 & w w w
#w
####
& nw
w #w
w w
ww #w
w
w
w #w
#2/#3
w w #w
w
 Example 9 Haydn String Quartet in G Major, Op. 54 no. 1, I. Allegro con brio, mm. 62–77 (Development)
This example provides a sample of a student GT analysis along with a variety of notations. Notice that at mm. 72–73,
the student has difficulty with the GT analysis and makes a note to consult the score. Using the score primarily to clarify
one’s aural impression of a piece is one of the chief learning goals of performing advanced analysis-by-ear.
Represented below the excerpt is the guide-tone figuration of the descending chromatic “floating GT” employed by the student.

# Do Ti Do Di=Ti/a Do
Guide
& w œ w #w w
Tone:
Student Notes:
Type 4 tonic exp.
(Fifth-related Bass)
Passing bass
(compare to m. 50)
! (Standing on V) 6
4
62 63 64 65

Audio
excerpt:

n ?F#
# Ti Do Ti Do Ti Do Ti Do Ti G
Guide
& #w w #œ #w w #œ w #œ w #œ ( nœ œ
Score
Analysis
Tone: Required
Searching for HC? Cadence denied?
Student Notes:
66 67 68 69 71 72

n
#
F =Fa Mi Re DO! Ti Do Di=Ti/d Do
Guide
& w# w!
(
Tone: nœ œœw œ
(C Maj. exp.)
w
Student Notes: PAC/C pedal bass (compare to
P1 (2nd rotation) m. 3)
73 74 75 76 77

Guide-tone figuration and harmonization (mm. 71–74): descending chromatic scale:

[ ]
71 72 73 74
# Do Ti Fa Mi Fa Mi
#œœœ œ œ
& œ # œ nœ #œ n œ œ # œœ #nbœœœ # œœ n œœœ œœœ
vii o E vii o D V C
 Like example 9 above, the excerpts in examples 10–12 contain challenges that invite the listener to develop new types of
GT figurations, including “floating” guide tones, consecutive applied leading tones, and circle-of-fifths progressions.
The purpose of this collection is not to provide an exhaustive list of possibilities explored by composers in transition
and development sections. Rather, students are encouraged to develop an internal library of GT figurations by listening
attentively to many works spanning a variety of style periods and genres.

Example 10 Grand Pauses before Retransitions in Haydn Sonata Form Developments

a. Haydn Symphony No. 87 in A Major, I. Vivace, mm. 117–125 HC/c#
### c œ ‰ j œj œ œ œ#œ œ ‰ #œj œ#œ œ œ œ ‰ ‹œj œ œ #œ œ Œ Œ 2
& # # œ œ œ # œ ‰ Œ Ó
# œœ œœ œœ # ‹œœœœœœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ Œ œ Œ œ Œ Ó
œœ œœ œœ œœ œœ œœ œœ œœ
œœœœœœœœ
œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ œœ # œœ

#
c : V E: I
b
b. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 66–69 HC/c
b œ œœœ œ œœœ œ œœœ œœ n œœœ U n œ #œ. œ #œ. œ nœ. œ œ
w ® nœ. ®
& b bc #œœnœœ œœœœœœ œœJ ‰ ‰ nœœœ ‰ ‰ œœ ‰ J nw ‰ R ® ®
?
œJ J œJ J w &
p
j œœœj œœœœ œœœœœœœ j ‰ œœj ‰ U
f
? bb c œœ ‰ ‰ œœœœœ œœœœœœœ œ Œ n#œœ œ œj ‰ œœ œ
b œ œ œ œnœ œœ œnœ œœ œ œœ w &
. n œ. # œ . n œ.
w .
c: V E: I

Example 11 Extended Chromatic Sequences

b
a. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 10–14, Transition

b
b. Haydn Piano Sonata No. 52 in E Major, I. Allegro, mm. 72–80, Retransition
 Example 12 Applied Leading Tones and Circle-of-Fifth Sequences:
Haydn Cello Concerto No. 1 in C Major, III. Allegro molto, mm. 107–133
 Example 13 Bass and GT Profile of Haydn Symphony No. 82 in C Major, I. Vivace assai

Measure: 16 21 33 40 47 48 50 53 59 69 70 78 81 83 84 102
Formal distribution (in mm.)
Exposition
Form: P TR MC S C
Cadence: HC/C HC/G PAC/G P Tr S C
GT shifts: Sol>Do Expo. 20 49 13 19
˙ %
œ %
œ ˙˙ ˙#œ œ #œ œ #œ œ # œ œ # œ n œ ˙ ˙œ#œ œ œ .
%

{
#
˙ ˙
% Dev. 39 12 20 --
œ # œ œ œ #œ #œ œ n œ œ œb œ œ
˙
œ œ œ œ
˙ œ#œ ˙
% %
& œœ œœ #œ
œ œ œ œ œ
œ bœ œ œ # œ
˙œ œ œ œ œ ˙
˙ œ œ. Recap. 11 32 15 31
˙ ˙
œ

Exp. Type: [4a] [2a-V] [5] [3a] [2a-V] [4-hyb]

Fifth-rel. Pedal Cont. Neigh. Pedal
Key/RN: C: I V I G: I V I IV V I V I

Measure: 103 105 111 117 125 131 135 142 150 157 160 162 173
stretto
Development

Form: P S imitation
TR
Cadence: Aux./F HC/g HC/a circle of
HC/C
>Ti fifths >Do
GT shifts: >Ti >Le compare to

œ œœ ˙ #˙ œ ˙ œ œ bœ œ#œ œ #œ œ œ ˙ #œ œ #œ œ
(track pitches) mm. 50-53
œ
˙ œ#œ œ ˙
œ
œ #œ ˙ œ œ# œ ˙˙ bœœ œœ
%
& œ ˙
œ œ œ
œ
#œ œ œ
œ œ ˙œœ œœ
œ
œ
Exp. Type: [4b-V] [4b-V] [4-hyb] * = significant
Fifth-rel. Fifth-rel.
points of departure
Key/RN: F: V I g: V i d: V i g: =V i a:V A: I C: I V
from exposition

Measure: 174 185 187 192 194 196 203 214 216 217 225 228 231 236 241 249 261
Recapitulation

(fine)
Form: P Tr MC S C
Cadence: HC/C HC/C
{

GT shifts: 207 209 211 PAC/C EC PAC/C

>Ti Do Ti >Ti
˙ œ œ œb œ #œ
%
œœ œ bœ #œœ nœ œœ bœ œ œ œ œ œ ˙˙ œ œ œ ˙ %œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ %œ œ ˙ œ œ œ œ œ œ #œ œ #œ n œ œ œ ˙ ˙œ œ œ œ œ bœœ ˙
& ˙ œ œ œ ˙ #œ œ #œ œ
Fa Mi Fa Mi
%
# n œ œ b œœ œ œ
Standing ˙ ˙ ˙ œ ˙
# œ œ nœ œ ( œ) #œ œ œ œ œ œ
œ œ œ
Score-study req. œ 4 3
* on V
*
*
compare to
Exp. Type: [4a] [2a-V] mm. 44–47
[2a-V] [4-hyb]
Fifth-rel. Pedal Pedal
Key/RN: I I V I V I V I V bVI V I
 Symphonic Hearing: Listening as Active Participation

Selected Bibliography

Alegant, Brian. “Listen Up!: Thoughts on iPods, Sonata Form, and Analysis without Score.”
Journal of Music Theory Pedagogy 21 (2007): 141–160.

Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969.

Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of
Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and
Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University
Press, 2006.

Karpinski, Gary S. Aural Skills Acquisition: The Development of Listening, Reading, and
Performing Skills in College-Level Musicians. New York: Oxford University Press, 2000.

Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis,
and Listening. 3rd ed. New York: Oxford University Press, 2011.

Lowe, Melanie. Pleasure and Meaning in the Classical Symphony. Bloomington: Indiana
University Press, 2007.

Marcozzi, Rudy. “The Use of Binary Logic and Processing to Enhance Learning and Instruction
in the Undergraduate Theory Classroom.” Journal of Music Theory Pedagogy 12 (1998):
25–38.

———. Strategies and Patterns for Ear Training. Upper Saddle River: Prentice Hall, 2009.

Rahn, Jay and James R. McKay. “The Guide-Tone Method: An Approach to Harmonic
Dictation.” Journal of Music Theory Pedagogy 2 (1988): 100–111.

Richards, Mark. “Teaching Sonata Expositions Through Their Order of Cadences.” Journal of
Music Theory Pedagogy 26 (2012): 215–252.

Rogers, Nancy. “Assembling the Nuts and Bolts: Building Musical Skills through
Improvisation.” Paper presented at The Musical Ear conference, Bloomington, Indiana,
September 26, 2009.

Schubert, Peter. “Improvising a Canon #1: At the 5th Above.” Accessed December 13, 2012.
http://www.youtube.com/watch?v=n01J393WpKk.

———. “Improvising a Canon #3: In Three Voices (part 1).” Accessed December 13, 2012.
http://www.youtube.com/watch?v=eu_-OfAABHw. Schubert’s series contains more
videos than those listed here.

Stevens, Daniel. “How to Understand a Harmonic Progression in Fewer than Ten Hearings:
Implementing and Extending the Guide-Tone Method Using the ‘Do-Ti Test.’” Paper
presented at The Musical Ear conference, Bloomington, Indiana, September 26, 2009.