On the score, identify:

I. Mark the formal sections with appropriate letters as follows:
A. For the movement as a whole
B. Minuet: all, being sure to reflect differences in the hierarchy of organizational levels
C. Trio: mm. 1 and 13

II. Keys
A. Minuet: indicate keys at the beginning of each formal section
B. Trio: indicate the key at m. 1

III. Cadences, analyzed by type. Mark the type above the staff on an upside down L that indicates where you think the point of cadence is. (Refer to Caplin.)
A. Minuet â€“ all cadences; note that in mm. 10 one half note is stems down and one half note is stems up. What implications does that have for the cadence type?
B. Trio:
1. mm. 1-12
2. m.28
IV. Supply a complete harmonic analysis of the following measures, carefully notating quality of chords and their inversions:
A. Minuet: mm. 15-25
B. Trio:
1. mm. 1-12
2. Indicate somewhere obvious in the score how you account for the E-natural in m. 12

V. Modulationsâ€”find the modulations (including any phrase modulations) in the Minuet and analyze them appropriately.
VI. For either minuet or Trio:
A. Locate and mark one sequence with brackets and label it "model" and "copy." Be as accurate as you can regarding starting and ending points of the sequential units.
B. Locate and mark with roman numeral or letter names harmonies for one circle of fifths sequence that has at least three â€œlegsâ€â€”model and two copies.

VII. Identify any transitions, codettas, cadential extensions, or codas, if present, in the minuet. VIII. Double-figure the return of any passage in the Minuet.
IX. Bonus: Find and mark one voice exchange.

Binary/Ternary forms Project No. 1 (Mozart Symphony in E-flat Major K. 132, third movement)

The form of this movement is (be thorough and precise):

On the staff below, notate the horn in E-flat basso (â€œEs tiefâ€) in mm. 15-24 of the Menuetto. NOTE: THE TRANSPOSITION IN THE â€œINSTRUMENTS AND INSTRUMENTATION FILE IS FOR E-FLAT â€œHOCHâ€ (ALTO). FOR THE E-FLAT â€œTIEFâ€ (BASSO) HORN, THE TRANSPOSITION IS A M6 PLUS AN OCTAVE.

There should be a clef, key signature, and time signature.
In the space below, draw a neat and clear time line of the piece that illustrates your concept of its form. Include the following:
a. Letters indicating formal sections requested for the score above
b. Keys requested for the score above; add measure numbers
c. Cadences, marked by type and measure numbers

On the score, identify: I. Mark the formal sections with appropr...