examen harmonie aan de piano hoofdvak theorie

voorbereid
JUNI 2012 Martijn Hooning
juni 2012

A. SEQUENCES

1 Row of thirds or:

 
model

               
sequence: or:


                    
   


   
  
            
 
 
  
  

The sequences form a 'circle of descending fourths'. Or, when we change the pitch of the sequence,
    
   

2 it becomes a çircle of descending major sixths (= minor thirds up..)

model
                          
                     
   


               

sequence:
  
    



or:
       
4

                

  



           
 

3 Descending major seconds...

model

     
   
       


    

  
   




sequence:



5
 
            
     


  





  
    
  

 3

Model modulates from c# minor to A major. Sequence 1 (at one point probably a littlechanged..) modulates from
4 A major to f# minor; second sequence: f# minor --> D major, and so on.

                

                  
                          

             
 
                      


     
  

5 Sequences in ascending thirds: Eb major --> Gb major --> A major ...

      
       
   
  
          
      


      

  
 
      
    





   

6 'Circle of descending semitones', minor keys.

   
       
   
         


  

 












   


7
     
    
     

 
    

 
  




  
 

   
5

        
  

  


   



   
 
   
   
  
 4
B. FIGURED BASS


Adagio
   
 


 
     
6 6 8 4 6 6 7 6 6 6
3
5
     
7 6 6 6 6 5
 5 

     
7 7 6 7
5 6 2
 4 4

4 6 5


8 3 3




4
          
3 4  6 6 6 6 8 4 6 6 7

       
6 6 6 8 4 6 6 5

7
2 4 5

6 2 5 6 2


13 3

 



  
2
        

7 6
    
6 7 6 6 7
4
6 6 7 4 7
3
4
3
6
  
6 7
5

6
4
7
5
    
9 6
5 4
3 3


MELODY
      
              
                 
3 3


   

   3   
             
7 3


                


 

   
                     

1.

      
13



(etc.)

  