home  > 
 muziektheorie > solfege en gehoortraining > huiswerkopgaves eerste jaar 2013-2014 / homewerk for solfege and ear training first year, 2013-2014  > 13 December 2013 / solutions
Below is a partial score of a Mozart Piano Sonata, some exercises for harmonic hearing, and a two-part and a rhythmicla dictation.
You can make the exercises here.
Here is a pdf with all
dictations and solutions
When you want to use the materials below (and elsewhere on this website) you must install the browser plugin SCORCH(by Sibelius Music). The plugin allows you
  • to see the scores
  • to listen to them (midi)
  • change the tempo, and transpose them to another key (works fine normally, only sometimes it goes entirely wrong)
 Om dit materiaal te kunnen gebruiken moet op je computer het programmaatje 'scorch' (van Sibelius) zijn ge?nstalleerd. Je kunt de oefeningen dan
  • bekijken
  • beluisteren (als midi, dus mooi is het niet echt..)
  • in een ander tempo afspelen en transponeren naar een andere toonsoort (gaat meestal goed, en soms goed fout..)

(download scorch)
- link opens 
in new window -
klik hier voor een korte gebruiksaanwijzing van Scorch
- link wordt in nieuw venster geopend -
click here for brief information on how to use Scorch
- link opens in new window -
Important to know: after you finish playing an example in Scorch, you have to use the stop button
before any other example on the same page can be played (else Scorch simply does not start again).
harmonic dictations:
1. 
  • label the cadences first (you can distinguish at least four cadences): HC in measures 4, 8, 12; PAC in measure 16. 
  • describe the structure of the example (period? sentence? which kind?): period. Or, more precise:
    • compound period (more than two phrases/closes)
    • parallel period (beginning of the consequent 'quotes' the beginning of the antecendent)
    • interrupted period (HC and 'restart' of the harmony in measure 9)
  • notate the bass
  • label all chords
2. 
  • label the cadences first: HC in measures 4, 8, 12; no PAC, eventulaay IAC in 10
  • notate the bass
  • label all chords
  • label harmonic patterns that may occur: Sequence of descending fifths (partially chromatic in measures 5-9
3. 
  • label the cadences first:  HC in 8, PAC in 16 (the example is an interrupted parallel period)
  • notate the bass
  • label all chords
  • label harmonic patterns that may occu: Romanesca in the beginning ( I  V6  VI  III6  IV  I )
Two-part dication ; rhythmic dictation
  • Two-part dictation: notate both voices, and describe the relation between the two voices  Imitation in the lower fourth in the bass.
  • Rhythmic dictation
.  Mozart's Piano Sonata in C major K 330, beginning of the second movement
  • Listen to the entire movement, and define the overall form. Large-scale ternary: A B A' with coda
  • Notate the bass of the first 20 measures.
  • Describe the cadences (as PAC, DC etc.); notate the appropriate terms in the right spots in the score.
    • DC in 2; HC in 4; PAC (in C) in 8 
    • IAC in 10 (in G minor); HC in 12 (back in F major)
    • sort of HC in 14 (on V2 ?) ; IAC 'on IV' in 16 ; PC in 18; PAC in 20
  • Listen to the harmony, and notte all scale degrees (Roman numbers) in the score (with inversions where these are used). 
  • Describe the form/structure of the first 20 measures, and the structure of all phrases within this section. Small-scale ternary:
    • measures 1-8: A-section, modulating, continuous period (consequent modulates to C major)
    • measures  9-16 (?): B-section, modulates shortly to G minor, then circles around V in F, and turns finally to the subdominant, Bb
    • measures 17-20: final, concluding A' -section, referring to (but only partially quoting) the consequent of A. 
 recordings, for instance:

Youtube:

Mitsuko Uchida

Clara Haskil (6'19'')

Vladimir Horowitz (6'20'')

Daniel Barenboim (6'10'')

--------