25 tudes progressives, Op. 50 by Louise Farrenc (18041875).

1. Complete the harmonic reduction of bars 1-18 of Louise Farrencs tude 2 (for precision in 6/8 time) from

25 tudes progressives Op. 50. The rst two bars have been completed for you.

2. Make a Roman-numeral analysis of the reduction (bars 1-18) using the Text functionality.

Once you have completed the TMA worksheet, save it with your name, PI number and the TMA number, ready

to submit via the eTMA system. Do not use commas in the lename.

Guidance notes

The harmonic reduction of the passage in the staves beneath the piano score begins in a melody with chordal

accompaniment texture (see Section 6.5.10), with three notes in the lower staff and one in the upper.

Complete the reduction in the same style, except for bars where the music switches to keyboard style texture

of one note in the lower staff and three in the upper (see Section 5.5.3).

When reducing the chords of the score to the melody with chordal accompaniment texture:

1. Begin by transcribing the harmony notes of the lower staff, with a time-value that lls the whole of the

prolongation of the chord, and reducing the notes in the score to a three-part texture. You will need to decide

which notes are chordal, and which are non-chord notes. See Unit 5, Section 5.5.2. When writing triads, follow

the guidelines on voicing/doubling introduced in Unit 5, Sections 5.5.3 and 5.5.4, and in Unit 9, Section 9.4.1.

For seventh chords, transcribe just three of the four notes of the chord.

2. Transcribe one note from the upper staff for each chord in the lower staff. Select only harmony notes

(ignoring passing and neighbour notes). Choose the note that in your judgment best re ects the contour of the

melody. If the chord of your reduction is a seventh chord, make sure that the note in the upper staff completes

the chord in combination with the three notes in the lower staff; these four notes should be all the notes of the

seventh chord, although if it is in root position, the root may be doubled and the fth omitted. The third and

seventh of the chord must always be included.

3.For the passages you reduce to keyboard style texture, the process is similar, but with one note in the lower

staff (which should always be the lowest note from the score) and three notes in the upper staff. Bear in mind

the advice above concerning seventh chords.

Most of the chords you are required to complete have a harmonic rhythm of dotted crotchets, as shown in the

rst two bars. Later in the extract, some chords change after only a crotchet or a quaver, and some are

prolonged for whole bars (dotted minims). Concentrate on identifying the chords correctly, including all the

notes of each in your reduction. You may nd it useful to review Unit 5, Section 5.3.3,

Distilling triads from

thicker textures

. Make sure you listen back to your reduction (select the music then use the transport

controls to Play from Selection).

To add your Roman numerals, create a text box attached to the lowest note of each chord in your reduction,

and position the box under the stave. You may want to review the videos in which this is demonstrated (Video

13.2 and Video 14.1). In addition to the rst two bars, bar 15 has also been completed, because it contains a

kind of chromatic chord you have not yet encountered in the module. The passage begins and ends in the key

indicated (A minor). The labels provided in bars 8-9, however, are given in the key of C major as part of a

modulation to that key. You will need to decide where that modulation begins and ends and label chords

accordingly. Applied dominant chords should be represented through slash notation (See Unit 13, Section

13.4). Applied dominant chords (V, V7

, vii0

, vii07

, vii7 and inversions of those) should be used on the left side of

the slash. In order to notate these chords in your analysis you may wish to copy and paste the symbols from

this text. Remember that you should indicate the inversion for chords that are not in root position.

Instructions and guidance for Parts 2 and 3 can be found on the TMA 03 page of the A234 module website.