MUT 5673 Name, OT, wn Form Worksheet 4: Compound Themes For each example: (2) Analyze all chords with Roman numerals and figures, and label cadences by key and type below that. (2) Name the compound theme type presented (compound period or compound sentence). Mark the 8-measure formal functions for the type you have selected (in bold print or UPPER-CASE LETTERS) (3) For compound periods, identify the theme type for the first 8-m. compound antecedent (sentence, ¢.b.i. + continuation, or antecedent + continuation). Mark these elements on the music, just below antecedent and consequent. (4) Bracket and label all smaller segments (b.i., ci. frag., cad., etc.) using the “Caplin style.” (5) Label any framing techniques (introduction, closing section, or standing on the dominant). Be sure to review the Compound Themes Handout on Canvas before beginning this assignment. 1. Schubert, Moment musicale, Op. 94, No. 6 (mm. 1-16). A few accented embellishing tones are placed in parentheses—but there are more: “look to the right” to seek out the chord tone! When in doubt, remember that vertical consonances (3rds, PSths, 6ths, 8ves) often indicate chord tones, while vertical dissonances (2nds, 4ths, 7ths, all + and °) often indicate embellishing tones, at least in a triadic environment. Compound theme type: Grtrouse Peon Subtype (if applicable): Genre Aurecesest Besomercon! cowrmsvarton Allegretto ¢ BE. fe retto s2._, ref pee ie «le ° 4 “PT, uy é¢ we) vw ya ity ry—t ; TE 2 pontinuecs vi fara “me2. Mendelssohn, Sopa ion Words, Op. 53, No. 3 (mm. 88-103). Place passing § chords in parens. Compound type: house _Senrrsnset. Subtype (if applicable): nfo Reesenvrnon e 77 7 77 PTT fa #70 #20 #fa = & Basinite TUG TIE TT ie fo 60 pe tH iv’ ere (continues)3. Mendelssohn, Song Without Words, Op. 85, No. | (mm. I-17). Account for the modulation. Compound type: Cetano Peete Subtype (if applicable): CBL+ Qurmswartan ANTECEDEST CI ar. cs. Andante espressivey =>.