Master of Music
Music Theory Competency Exam
Part Writing and Analysis
Part II: Analysis—Piece A
Haydn: Piano Sonata, Hob. XVI, 40-II
Please print out a copy of this page in order to record your answers as you take this practice test. You can also use this PDF file to record answers.
You have been provided with a score of a piece for piano from the Classic period (top of page). Answer the following questions with reference to this score. In the actual exam, a recording of the piece will be played for you two times. For this practice exam, please look online for a recording of Haydn's Piano Sonata, Hob. XVI, 40-II.
1. The piece consists of three large formal sections, each of which includes one or several distinctive key areas. In the table below, provide the following information for each section:
- In which measure does the section begin?
- What is the key and Roman numeral of the first chord?
- In which measure does the section end?
- What is the key and Roman numeral of the last chord?
|Beginning measure number||Key and Roman numeral of first chord||Ending measure number||Key and Roman numeral of last chord|
2. Consider the tonal and thematic relationships between the different sections of the piece. In your opinion, which of the following schemes reflects the piece’s overall form most adequately? Briefly explain your answer.
A B C
A A’ A
A B A
A B A’
3. The piece contains four distinct cadences. In the table below, provide the following information for each cadence:
- In which measure does the cadence arrive?
- In what key is it?
- What type of cadence is it? (Perfect Authentic Cadence, Imperfect Authentic Cadence, Half Cadence?)
|Measure number||Key||Cadence type|
4. Provide a complete harmonic analysis of the passage shown above (measures 11–18).
- Specify the key at the beginning of the passage.
- Label all chords with Roman numerals, inversion figures, or special symbols (such as N6, Fr.+6, etc.) as appropriate.
- For any modulation, specify the new key and show a pivot chord.
5. a) The piece includes several melodic/harmonic phrases. Identify two phrases at the beginning of the piece that together form a period. In the space below, specify the beginning and ending measure numbers for each phrase of this period.
- First phrase (“antecedent”): ………………
- Second phrase (“consequent”): ………………
b) The second phrase of the period mentioned above involves a phrase extension.
- In which measure does the phrase extension begin? ………………
- What is the harmonic function of this extension? How does the bass voice contribute to it?