Lecture Notes, MUS 211 Fall 2016


Demonstration of the expert process of analysis using Mouret, "Fanfare-Rondeau"


1. listen (use Naxos)

what do I learn just from listening?

it's pretty repetitive so I can probably use the same RN over and over

I hear pretty clear resting points -- cadences maybe: but how often?

listen again: about every 4 bars maybe, based on the melody

I also hear an awful lot of (sol - do) in the bass, emphasized by bass notes of organ (in this version -- in the original arrangement it's timpani)

so I might expect a lot of V and I in my RN

I also notice that the sol-do regularity is contrasted by a lot of passing/neighbor notes in the melody and accomp.: I'm probably ignoring a lot when I focus on harmony


Now, looking at the score

2. key: appears to be D major (key sign and opening bass notes)

does it ever change? scan through visually, looking for accidentals; nope


3. cadences: going to mark every 4 bars, since that was where I heard them [do it]


4. RN: this texture is a bit confusing, so I'm going to look just at the bass line first and come up with some ideas that way [write in RN based on bass alone]


m. 5: Here I see there's a C# in the bass. That could be a root position viio chord, but I know that those aren't really that common. What I know is much more common is to expand the tonic using a first inversion V chord. So I'm going to mark that down instead, and check later.

stop at m.9 I know this is the bit that repeated, so I'll just copy my final answer to mm.1-8 there, when I get that done


5. checking my work for mm.1-8:

go back and look at the upper voices, esp. in the bars I marked as V6: are those right?

double check by playing the harmonies I wrote in RN while singing the melody: does it sound kind of like the recording I played?


6. back to cadences: going to mark those in now (and go on forwards to end of m.16)

mm.14-16 looks different from mm.6-8

what I know about form (and what you'll know later this semester) is that often there's a section of music that ends with a HC, and then a repetition of that section that ends with a PAC

I have a hunch that's happening here -- let me look at it more closely

m14-16 look at bass line alone

m.14 has I - IV - V: this seems stronger in terms of function than in the past (T-PD-D and then tonic?)

m.15 has a really characteristic octave leap in bass: I wonder if there's a cadential 6/4 there?

yuck, too many staves and non chord tones to pick through. I'm going to write a V64-53 in D major just so I know what I'm looking for

that's easier. now I can see that yes, there's a D and an F# in the upper parts, and then they resolve down to a C# and E that happen on the next half note beat

but the D and F# happen on the last eighth note of the first half note beat in the bar: do I really hear them as a cadential 6/4?


listen to recording again: what do you think?



So, what did I do as part of my expert process?

listened first to get overview

looked at score for overview

found places, using listening and looking, to use as benchmarks (cadences)

looked at one line in the texture that I knew was most important, rather than looking at every part

noticed and copied bits that were repeated

compared what I saw/heard with what I knew (e.g. viio less common than V6; cadential 6/4 common)

sang melody while playing harmonies I'd analyzed

wrote a simpler version of the concept I was looking for and then compared with score

revised/checked over my work


what do you think? how does this compare with what you do?