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Analysis Explanation and Supertonic

(For more information, consult pp.82-84 in your textbook.)

Answer Part B on a separate sheet or type/write your answers in here.

You must hand in a hard copy.

#51, Waltz, op.9, no.3, D.365

 A. Listen to #51 and then Analyze, including the following:

☐ Composer Years—Write in above the composer’s name 

☐ Key—Write directly below the key signature on the first line

☐ RN (Roman Numerals)—Write directly below where the chord occurs

☐ Function—Write the function label (T, PD, or D) directly below each RN

☐ Cadences—Mark in a rectangle directly above where the cadence occurs

☐ NCTs (Non-Chord Tones)—circle and label each

Use the analysis of #50 as a guide for the placement of your analytical markings.

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B. Answer the following questions (refer to pp.82-84 in your text)

1. The majority of measures in this example have dotted half notes in the bass. Since this dotted

half note is on beat one each time, what effect does this note have on how we analyze the other

two beats of the measure?

2. In which measure do we hear the supertonic triad?

3. Is this supertonic triad in root position or first inversion?

4. What chord comes before the supertonic in the example?

5. What chord comes after the supertonic in the example?

6. Do your answers to #4 and #5 make sense in light of what we know about how chord

progressions are put together? Explain.

7. Both measure 4 and 5 contain a Dominant harmony, yet the harmony in measure 5 is somehowstronger. What does Schubert add to make this chord sound stronger?

8. While it may be tempting to label the harmony in measure 6 as some sort of tonic chord, what 

would be a better label for it?

9. Write out each of your RN from the entire example here (in order of occurrence):

10. Does this progression fit the phrase model? Explain.

11. The complete melody in example #51 exhibits something known as sentence structure.

Sentence structure is a way of putting a tune together so that it follows the formula aab, where ashort musical idea is stated for two measures and then is repeated (either exactly or at a different 

pitch level) A longer b statement then follows—it can also be similar to a or it can be completely

different.

 Where does the first a start?

 Where does the second a start?

 Where does b start?

 b is how much longer than a?

 Does the b statement begin with material that is similar or completely different from the a 

statement?

12. What does the “D.365” at the end of this piece’s title mean? Why D? Why 365? 

E.C. Tell me something interesting about Schubert.