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beethoven

July 5, 2021 By Aron Bernstein 6 Comments

Weekly Music Theory Challenge 7/5/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

Listen to the audio from the third movement of Beethoven’s Piano Sonata No. 17, “The Tempest.”

AUDIO

What is the chord in the red section? Give the analytical name, within the context of the piece’s key. Then, tell me what’s unusual about how Beethoven wrote it here.

Come back Friday, July 9th for the answer!

ANSWER for 7/5/21

If you spent the week craving three-flavored ice cream, you probably got the right answer! This is the Neapolitan, or “flat two chord.” Typically heard in minor keys, it’s a major triad built on the flatted second note of the scale. It functions the same way as a diatonic II chord: a predominant, or preparation for V. But usually it’s found in first inversion, and therefore called Neapolitan 6. That gives a strong authentic cadence: N6 to V to i. In this example, though, Beethoven uses the Neapolitan in the less typical root position, creating a weaker, more subtle cadence: N to V6 to i. But Beethoven is well aware of this, and follows it up with another authentic cadence, this one stronger. It’s all about where you’re headed.

For more info, click HERE for a fun, FREE mini-lesson on the Neapolitan!

Want to Learn More?

This summer I’m creating a whole new module for the Breaking Barlines course: Chromatic Harmony! Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Stay tuned for new lessons on the Neapolitan and other types of chromatic harmony. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

Filed Under: music theory challenge Tagged With: beethoven, breakingbarlines, chords, classicalmusic, harmony, music, musiceducation, musiclessons, musictheory, musicvideo, popmusic

June 7, 2021 By Aron Bernstein 2 Comments

Weekly Music Theory Challenge 6/7/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

These are the octaves that open Beethoven’s last piano sonata, Opus 111 in C minor. What interval do they form, and what interval is enharmonic with this one?

Listen to the Audio:

Check back Friday, June 11th for the answer!

ANSWER for 6/7/21

This is a diminished seventh. It’s enharmonic with a major sixth, but the spelling of E flat down to F sharp makes it a seventh. Letter name spelling always determines what an interval is called. When naming an interval, always start with letter names before considering the flats and sharps. Any kind of E (E natural, flat, or sharp) down to any kind of F is a seventh. Then look at the number of half-steps in the interval. A major seventh is eleven half-steps, a minor seventh is ten, and a diminished seventh is nine. It sounds the same as a major sixth, but spelling is everything! It determines not only the interval’s name, but also how it functions in music.

Want to Learn More?

Intervals are like the atomic building blocks of music, and I have complete interval lessons in the Fundamentals Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

Filed Under: music theory challenge Tagged With: beethoven, breakingbarlines, classicalmusic, interval, music, musiceducation, musicinterval, musiclessons, musictheory, musicvideo, popmusic

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