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Listening Clues Worksheet
Beethoven        
1. In listening example #1, using music terminology, why is the piece considered repetitive? (Hint: Look for definitions concering repetitive works.)
         
         
2. In listening example #1, is the texture thin or thick? Explain your answer.
   
   
3. In listening example #2, what is the form of this piece? Explain your answer.
         
         
4. Comparing listening example #1 and #2 are the textures of these pieces the same or different? Why or Why not?
         
         
Haydn        
1. Compare these two Haydn works. Is there a common idea that can be heard recurring through the first piece? The second?
         
         
2. Is the theme from Symphony no. 94, Movement II repeated at all? Is it modified during any of those repetitions?
         
         
3. What is the form of Symphony no. 94, Movement II? (Choose from the forms discussed in class or found on the definitions page)
         
         
4. Does the excerpt of the Piano Sonata No. 1 sound like it has a map or special  schematic? (Hint: Is there a section that is repeated and if so, where does it occur?)
         
         
5. What is the form of the second selection?
         
         
Schubert        
1. In listening example #1, how many times is the first motive repeated?
         
         
2. In listening example #1, is the texture thin or thick. Explain your  answer.
         
         
3. In listening example #2, what is the time signature this piece. Explain your answer.
         
         
4. Comparing listening example #1 and #2, are the textures of these pieces the same or different?
         
         
Mozart        
1. Is there a common theme or motive heard throughout "Variations on Ah vous dirais-je, Maman, K.265?" (Hint: Think about a popular piece that sounds very similar.)
         
         
2. What happens to the theme in "Variations on Ah vous dirais-je, Maman, K.265?"What is the form of this selection?  (Choose from the forms discussed in class or found on the definitions page)
         
         
3. Compare the number of instrumental parts involved in the "Variations" piece with that of the second. Is the texture more involved or less? Why?
         
         
4. What term can be used to describe the form of "Symphony no. 40, Mvt. I?" (Hint: Listen to at least the beginning middle and end of the piece.)